Donald Judd
dal 18/6/2004 al 5/9/2004
Segnalato da
18/6/2004
Donald Judd
K20 Kunstsammlung, Dusseldorf
The Kunstsammlung Nordrhein-Westfalen is the exclusive German venue for the first comprehensive survey of works by American artist Donald Judd since his death in January 1994. Forty pieces drawn from all phases of Judd's career offer profound insight into his artistic achievement, which supplied decisive visual as well as conceptual impulses propelling the evolution of three-dimensional art in the later 20th century.
Ongoing presentation of the permanent collection.
The Classical Modern and Joseph Beuys
The Kunstsammlung Nordrhein-Westfalen is the exclusive German venue for the first comprehensive survey of works by American artist Donald Judd since his death in January 1994. Forty pieces drawn from all phases of Judd's career offer profound insight into his artistic achievement, which supplied decisive visual as well as conceptual impulses propelling the evolution of three-dimensional art in the later 20th century.
The exhibition starts with a series of early paintings which trace the artist's protracted transition from two- to three-dimensionality. A group of cuboid works from the early 1960s, freely arranged in the gallery space, testifies to his consequential evolution of a new formal language. Neither pictures nor sculpture, they are, so to speak, 'specific objects', a notion Judd used for the first time in a 1964 essay bearing that title. Beginning in that year, he had his 'objects' manufactured by professionals in industrial materials such as steel, aluminum, copper and plywood. Gleaming colored lacquer, stained Plexiglas and polished or matt finished metal engage in dialogues with one another and with the simple cubic forms that occupy the space in rows or stacks. In the late 1980s, Judd developed vibrantly chromatic wall and floor pieces, which he had assembled with screws from lacquered sheet metal elements. Their astonishing effects, their subtlety, elegance and loveliness, result from an intricate interplay of volumes, materials, color and light. Judd regarded the spatial container to be of enormous significance for his art, and this can be grasped especially vividly today by viewing the galleries and halls in Marfa, Texas, outfitted by the artist himself. There, a portion of his oeuvre has found an ideal home on a permanent basis.
All of the partners in this touring exhibition – Tate Modern, London, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, and Kunstmuseum Basel (October 02, 2004 –
January 09, 2005) – own important works by Donald Judd, which could be included in the show. Curator Sir Nicholas Serota, Director of the Tate, developed this project in close collaboration with Marianne Stockebrand, Director of the Chinati Foundation, and with the Judd Foundation in Marfa, Texas. The extensive and abundantly illustrated catalogue contains contributions by David Batchelor, Rudi Fuchs, Jeff Kopie, David Raskin, Nicholas Serota, Richard Shiff and Marianne Stockebrand. (DuMont Literatur und Kunst Verlag, Cologne, museum edition euro 32.00)
An exhibition by Tate Modern, London
The exhibition will be accompagnied by a small brochure which can also be downloaded here. (This document is only available in german.)
Exhibition Program: In the audiovision room, we will be screening the 1995 film 'Bauhaus Texas– Der amerikanische Kuenstler Donald Judd,' produced by Regina Wyrwoll for the Goethe Institute, ZDF, ARTE.
Lecture: July 07, 7:00 p.m.: 'Der ganze Raum im Werk von Donald Judd'.
Lecture by Thomas Kellein, Director of the Kunsthalle Bielefeld August 04, 7:00 p.m.: 'Donald Judd – Das fruehe Werk'. Lecture by Gregor Stemmrich, Professor of Art History, Academy of Fine Art, Dresden
Image:
Donald Judd, Ohne Titel, 1972, Kupfer und kadmiumroter Lack auf Aluminium, 91,4 x 152,4 x 152,4 cm, Tate © Art Judd Foundation. Licensed by VAGA, NY/VG Bild-Kunst, Bonn 2004
K20 Kunstsammlung
am Grabbeplatz
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40213 Düsseldorf
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