Actual space is intrinsically more powerful and specific than paint on a flat surface.
Gagosian is pleased to present the first solo exhibition dedicated to Donald Judd (1928–1994) in Hong Kong. Judd played a central role in defining the art of his time, and his work continues to be influential today. The exhibition will feature significant pieces from the 1960s through the 1990s and is the gallery’s first presentation of Judd’s work since announcing its representation of the artist and Judd Foundation in September.
The exhibition highlights a selection of Judd’s single-unit wall pieces from 1965 through 1991. They are made with some of the primary elements in his material vocabulary: galvanized iron, colored plexiglass, plywood, anodized aluminum, and painted aluminum. The carefully proportioned forms of the works emphasize the intrinsic qualities of their materials and the relationships between their parts and the whole.
Also on view in Hong Kong are two floor pieces from 1989 made from unpainted Douglas fir plywood. Defined by their horizontal and vertical planes, with segments arranged on a diagonal, these works’ precise internal division transforms their occupation of space and effectively channels light and shade. As such, they typify the way in which the structural clarity of Judd’s art heightens perceptual exchange between the work, its surroundings, and the viewer.
Judd began as a painter in the 1950s, but by the early 1960s he came to regard spatial concerns as paramount (though he referred to his objects as three-dimensional works rather than sculptures). Through his globally influential visual work, as well as in his incisive critical and theoretical writing, he articulated new possibilities for an art that exists on its own determinedly physical terms, removed from notions of metaphor and illusion. To this end, he designated that his works were untitled and developed new terms to describe them, including wall piece—a single unit or multiple units designed to hang on the wall—and floor piece—a work that stands directly on the floor without a traditional sculptural pedestal. Examples of both wall pieces and floor pieces are on view at Gagosian Hong Kong, together with a set of Judd’s woodcut prints. Created in 1992–93 on handmade Korean hanji paper, these twenty prints feature compositions of rectangular blocks and gridded forms in saturated colors.
In 2020, Gagosian New York, in association with Judd Foundation, presented an exhibition of Judd’s largest single plywood construction, an untitled work from 1980 that spans 80 feet in length. Artwork: 1980 coincided with the first major museum survey of the artist’s work in the United States in three decades, at the Museum of Modern Art, New York.
—唐納德‧賈德 (Donald Judd)
—拉里‧高古軒 (Larry Gagosian)
高古軒欣然呈獻香港首個唐納德‧賈德 (1928–1994) 個人作品展。賈德是定義其所屬時代藝術的重要人物，其作品至今仍然影響深遠。這次展覽將會展出他從1960年代至1990年代的代表作，亦是自高古軒在9月宣布代理賈德及賈德基金會以來首次展出他的作品。
Eileen Costello, Marta Kuzma, and Caitlin Murray on Donald Judd: Paintings
Art historian Eileen Costello and Yale School of Art professor Marta Kuzma discuss Donald Judd’s two-dimensional work and how the lessons he learned from the innovations of Abstract Expressionist and Color Field paintings permeate his entire body of work. Their conversation is moderated by Caitlin Murray, director of archives and programs at Judd Foundation.
Peter Ballantine and Martha Buskirk on Donald Judd
Peter Ballantine, Donald Judd’s longtime fabricator of plywood works, and Martha Buskirk, professor of art history and criticism at Montserrat College of Art in Beverly, Massachusetts, discuss the development, production, and history of the largest plywood construction Judd ever made, an untitled work from 1980.
Gagosian Quarterly Fall 2022
The Fall 2022 issue of Gagosian Quarterly is now available, featuring Jordan Wolfson’s House with Face (2017) on its cover.
There is No Neutral Space: The Architecture of Donald Judd, Part 2
In this second installment of a two-part essay, Julian Rose continues his exploration of Donald Judd’s engagement with architecture. Here, he examines the artist’s proposals for projects in Bregenz, Austria, and in Basel, arguing that Judd’s approach to shaping space provides a model for contemporary architectural production.
Building a Legacy
Judd Foundation Archives
Richard Shiff speaks with Caitlin Murray, director of archives and programs at Judd Foundation, about the archive of Donald Judd, how to approach materials that occupy the gray area between document and art, and some of the considerations unique to stewarding an archive housed within and adjacent to spaces conceived by the artist.
There Is No Neutral Space: The Architecture of Donald Judd, Part 1
Julian Rose explores the question: what does it mean for an artist to make architecture? Delving into the archives of Donald Judd, he examines three architectural projects by the artist. Here, in the first installment of a two-part essay, he begins with an invitation in Bregenz, Austria, in the early 1990s, before turning to an earlier project, in Marfa, Texas, begun in 1979.
Extended through January 22, 2022
November 10, 2021–January 22, 2022
555 West 24th Street, New York
Extended through September 4, 2020
March 12–September 4, 2020
West 21st Street, New York