Despite his close association with the Minimalist art movement of the 1960s, Donald Judd did not consider his art minimal or reductive. In fact, the artist denounced labels like “painting” and “sculpture” altogether, claiming instead that he created “specific objects” in “real space.” These works often consist of boxes and cubes that are spaced in uniform intervals. Many are fabricated from materials like galvanized iron and Plexiglas, whose industrial appearances deny any trace of the artist’s hand. Unconventionally, Judd mounted these works on the wall or placed them directly on the floor. By collapsing the separation between viewer and art object, works such as Untitled challenge and expand traditional definitions of architecture, design and sculpture.
Details
- Artist Name: Donald Judd (American, 1928-1994)
- Title: Untitled
- Date: 1966
- Medium: Galvanized iron and painted aluminum
- Dimensions: 40 x 190 x 40 in. (101.6 x 482.6 x 101.6 cm)
- Credit Line: Norton Simon Museum, Gift of Mr. and Mrs. Robert A. Rowan
- Accession Number: P.1966.15a-e
- Copyright: Art © Judd Foundation / Artists Rights Society (ARS), New York
Object Information
Pasadena Art Museum, Pasadena, 1966-1975;
Norton Simon Museum, Pasadena, 1975.
American Art Since 1950 from the Norton Simon Museum
- Museum of Contemporary Art (Los Angeles, Calif.), 1990-06-30 to 1990-09-09
Judd/Morris/Flavin/Andre
- Riverside, University of California Riverside, Art Gallery, 1970-02-09 to 1970-03-08
Unitary Forms: Minimal Sculpture by Carl Andre, Don Judd, John McCracken, Tony Smith
- San Francisco Museum of Art, 1970-09-15 to 1970-11-01
Primary Structures
- New York, Jewish Museum, 1966-04-27 to 1966-06-12
Donald Judd
- Pasadena Art Museum, 1971-05-11 to 1971-07-04
American Sculpture of the Sixties
- Los Angeles County Museum of Art, 1967-04-28 to 1967-06-25
A Minimal Future? Art as Object 1958-1968
- Museum of Contemporary Art (Los Angeles, Calif.), 2004-03-14 to 2004-08-03
A Look at New York
- Pasadena Museum of Modern Art, 1973-06-12 to 1973-07-22
Beyond Brancusi: The Space of Sculpture
- Norton Simon Museum, 2013-04-26 to 2014-01-06
R. A. Herold Wing Dedication Exhibition
- Sacramento, E. B. Crocker Art Gallery, 1969-11-19 to 1969-12-31
Permanent and Loan Collection, 1973
- Pasadena Museum of Modern Art, 1973-01-30 to 1973-12-31
Permanent and Loan Collection, 1974
- Pasadena Museum of Modern Art, 1974-03-16 to 1974-06-06
Radical Past: Contemporary Art and Music in Pasadena, 1960-1974
- Norton Simon Museum, 1999-02-07 to 1999-06-06
- Armory Center for the Arts, 1999-02-07 to 1999-04-11
- Art Center College of Design (Pasadena, Calif.), 1999-02-07 to 1999-04-25
- Elsen, Albert, Purposes of Art,
- Donald Judd, no. 1, pl. 15 pp. 33, 64
- Smith, Brydon, Donald Judd, no. 85 p. 140
- American Sculpture of the Sixties, 1967, no. 65 p. 127
- Mitchell, Charles, Concerning Contemporary Art, 1973,
- Haskell, Barbara, Donald Judd, 1975, fig. 28 p. 51
- Lynton, Norbert, The Story of Modern Art, 1979,
- The Museum of Contemporary Art, Los Angeles, American Art Since 1950 from the Norton Simon Museum, 1990,
- Pincus, Robert L., On a Scale that Competes with the World: The Art of Edward and Nancy Reddin Kienholz, 1990, fig. 4 pp. 6-7
- Armory Center for the Arts/Art Center College of Design, Radical Past: Contemporary Art & Music in Pasadena, 1960-1974, 1999, p. 94
- Makabe, Kaori, Shukan Bijutsukan (The Weekly Museum), 2000, p. 11
- Bjelajac, David, American Art: A Cultural History, 2000, fig. 8.39 p. 364
- Meyer, James Sampson, Minimalism: art and polemics in the sixties, 2001, pl. 14 pp. 18-19
- Goldstein, Anne, Diedrich Diederichsen, Jonathan Flatley, James Meyer, and Anne Rorimer, A Minimal Future? Art as Object 1958-1968, 2004, pp. 259, 449
- Bjelajac, David, American Art (2nd edition), 2004, fig. 8.52 pp. 405, 407
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