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Title: Donald Judd by Barbara Haskell, Donald Judd, Whitney Museum of American Art, Dallas Museum of Art ISBN: 0-393-02671-X Publisher: W W Norton & Co Inc Pub. Date: 01 January, 1989 Format: Hardcover Volumes: 1 List Price(USD): $39.95 |
Average Customer Rating: 5 (1 review)
Rating: 5
Summary: The One to Have
Comment: If you only buy one Donald Judd book in your lifetime, this may be the one to have. Beautifully designed and produced, with gorgeous full-bleed color reproductions, it is comprehensive in covering all the major aspects of his production (prints possibly excepted), including early paintings, the transition to sculpture, the late work, and the work on major art environments, i.e. Marfa and Spring Street. Most effectively, it groups major aspects of Judd's work into categories (stacks, linear wall pieces, series of boxes, etc.) clearly laying out his initial concepts, their evolution over time, and their relationships to other categories of work. In my brief time with this book, I have already come away with a much greater understanding of Judd's oeuvre and ways of thinking, thanks largely to the wonderfully didactic quality of the entire enterprise. I am assuming Nicolas Serota, the director of the Tate Modern and the book's editor, is largely responsible for this. Of the several intriguing essays, I have only thoroughly read the one by David Batchelor, a British Judd-ologist who addresses the issue of color. It alone is worth the price of the book, tracing aspects of the work back to initially wan late-nineteenth century attempts at the artistic representation of machinery, and then bringing us forward to Judd's thorough (albeit fascinatingly undocumented) familiarity with the technology and varieties of contemporary car paints (apparently his selection of [always impure] colors referenced specific automobiles, i.e. 1958 Ford Galaxy Celeste Green). The essay is full of wonderful observations such as Batchelor's equation of traditional brushes with organic nature, actual embodiments of their classical subject matter, that had to ultimately be abandoned by Judd (and of course others) in his search for artistic tools reflective of mechanization and urban modernity. Furthermore, Batchelor illustrates how the tools may have changed but Judd's concern with color, texture, and composition remained rooted in art-historical and even painterly considerations. Judd vehemently rejected the minimalist label, such label in Batchelor's view having contributed to critics' failure to recognize the sophisticated color and sensuality of the works. And finally, we are led to consider how the works may be as much about problems of painting and even (gasp) allusion and representation as about problems of sculpture. Great stuff.
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Title: Singular Forms (Sometimes Repeated): Art from 1951 to the Present by Lisa Dennison, Nancy Spector ISBN: 089207308X Publisher: Solomon R. Guggenheim Foundation Pub. Date: 01 July, 2004 List Price(USD): $45.00 |
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Title: Whitney Biennial 2004 : Whitney Museum of American Art (WHITNEY BIENNIAL) by Chrissie Iles, Shamim M. Momin, Debra Singer ISBN: 0874271398 Publisher: Whitney Museum of Art Pub. Date: 13 April, 2004 List Price(USD): $50.00 |
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Title: Brice Marden: Drawings and Paintings 1964-2002 by Brice Marden, Eva Keller, John Yau ISBN: 3908247705 Publisher: Scalo Publishers Pub. Date: November, 2003 List Price(USD): $49.95 |
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Title: A Minimal Future? : Art as Object 1958-1968 by Ann Goldstein, Lisa Mark ISBN: 0262072513 Publisher: MIT Press Pub. Date: 01 May, 2004 List Price(USD): $50.00 |
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Title: Lee Bontecou: A Retrospective of Sculpture and Drawing, 1958-2000 by Elizabeth Smith, Robert Storr ISBN: 0810946181 Publisher: Harry N Abrams Pub. Date: 23 September, 2003 List Price(USD): $50.00 |
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