Works Exhibited
About
Actual space is intrinsically more powerful and specific than paint on a flat surface.
—Donald Judd
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.
在本質上，實際空間比在平面上的顏料更有力量，也更具體。
—唐納德‧賈德 (Donald Judd)
當談到美國藝術史，不得不提到唐納德‧賈德的名字。他在推動現代主義發展中擔當關鍵的角色，備受同儕尊重，亦深受現今的藝術家推崇。他運用色彩及比例的手法十分精彩，至今仍然影響深遠。能夠協助他實現他的願景，並按照他的意願展出他的作品，我本人及畫廊也深感榮幸。
—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。
展品包括賈德於1965至1991年創作的一批單個體牆面作品，採用鍍鋅鐵、彩色有機玻璃、膠合板、陽極氧化鋁及塗漆鋁等他經常使用的主要元素，作品比例講究的形態突顯這些物料的內在特質，以及其部分與整體之間的關係。
同樣在香港展出的作品還有賈德於1989年創作、以沒有塗漆的花旗松膠合板製成的兩件地面作品。作品由水平和垂直的平面組成，部分以對角方式排列，精確劃分的內部改變了其佔據空間的方式，傳遞出光線和陰影，從而體現出賈德作品的清晰明確結構，加強了作品、四周環境與觀賞者之間的感知交流。
賈德於1950年代成為畫家，但到了1960年代初，他開始鑽研空間問題（儘管他把自己的作品稱為立體作品而非雕塑）。他透過具有全球影響力的視覺作品，以及精闢深刻的批評和理論著作，表明藝術以其特定的物理形式存在的全新可能性，擺脫一切隱喻和幻覺的概念。為此，他決定不為自己的作品加上標題，並創造出全新的詞彙來描述它們，包括掛於牆上的單個或多個個體牆面作品，以及直接放在地面上、沒有傳統雕塑底座的地面作品。香港高古軒將會展出多件牆面作品和地面作品，以及一批賈德創作的木刻版畫。這套共有20幅的版畫於1992至1993年創作，採用韓國手工製作的韓紙，構圖由色彩濃厚的矩形色塊和網格圖案組成。
在2020年，紐約高古軒與賈德基金會聯合舉辦展覽「Artwork: 1980」，展出了賈德在1980年創作、長達80呎的最大單體膠合板結構的無題作品，當時美國紐約現代藝術博物館亦正為賈德舉行30年來在美國大型博物館的首場回顧展。
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Artist
Downloads
In Conversation
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.
In Conversation
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.
Now available
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.
