Donald Judd, Basel, June 10–September 7, 2024

Installation Views

Installation view. Artwork © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson — Installation view
Artwork © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Thumbnail - Installation view. Artwork © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Works Exhibited

Donald Judd, Untitled, 1991. Clear anodized aluminum with light blue plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Rob McKeever — Donald Judd
Untitled, 1991
Clear anodized aluminum with light blue plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm)
© Judd Foundation/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Donald Judd, Untitled, 1991. Clear anodized aluminum with red and chartreuse plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson — Donald Judd
Untitled, 1991
Clear anodized aluminum with red and chartreuse plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm)
© Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Donald Judd, Untitled, 1991 (detail). Clear anodized aluminum with red and chartreuse plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson — Donald Judd
Untitled, 1991 (detail)
Clear anodized aluminum with red and chartreuse plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm)
© Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Donald Judd, Untitled, 1991. Clear anodized aluminum with amber over yellow plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson — Donald Judd
Untitled, 1991
Clear anodized aluminum with amber over yellow plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm)
© Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Donald Judd, Untitled, 1991. Clear and turquoise anodized aluminum with blue over red plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson — Donald Judd
Untitled, 1991
Clear and turquoise anodized aluminum with blue over red plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm)
© Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Donald Judd, Untitled, 1991 (detail). Clear and turquoise anodized aluminum with blue over red plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson — Donald Judd
Untitled, 1991 (detail)
Clear and turquoise anodized aluminum with blue over red plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm)
© Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Donald Judd, Untitled, 1991. Clear and turquoise anodized aluminum, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson — Donald Judd
Untitled, 1991
Clear and turquoise anodized aluminum, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm)
© Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Donald Judd, Untitled, 1991 (detail). Clear and turquoise anodized aluminum, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson — Donald Judd
Untitled, 1991 (detail)
Clear and turquoise anodized aluminum, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm)
© Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Thumbnail - Donald Judd, Untitled, 1991. Clear anodized aluminum with light blue plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Thumbnail - Donald Judd, Untitled, 1991. Clear anodized aluminum with red and chartreuse plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Thumbnail - Donald Judd, Untitled, 1991 (detail). Clear anodized aluminum with red and chartreuse plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Thumbnail - Donald Judd, Untitled, 1991. Clear anodized aluminum with amber over yellow plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Thumbnail - Donald Judd, Untitled, 1991. Clear and turquoise anodized aluminum with blue over red plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Thumbnail - Donald Judd, Untitled, 1991 (detail). Clear and turquoise anodized aluminum with blue over red plexiglass, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Thumbnail - Donald Judd, Untitled, 1991. Clear and turquoise anodized aluminum, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

Thumbnail - Donald Judd, Untitled, 1991 (detail). Clear and turquoise anodized aluminum, 9 ⅞ × 39 ⅜ × 9 ⅞ inches (25 × 100 × 25 cm) © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Maris Hutchinson

About

Material, space, and color are the main aspects of visual art. Everyone knows that there is material that can be picked up and sold, but no one sees space and color.
—Donald Judd

Gagosian is pleased to announce an exhibition of works by Donald Judd opening at the Basel gallery on June 10. Ten single-unit, wall-mounted works made by the artist in Switzerland between 1987 and 1991 will be on view. Each work measures 25 × 100 × 25 centimeters (approximately 10 × 39 × 10 inches) and is fabricated in Judd’s signature mediums: anodized aluminum and plexiglass sheets in a range of opacities and colors, from amber and chartreuse to black.

Judd’s radical art making and thinking helped shape the look of the late twentieth century and continues to influence artists, architects, and designers worldwide. He has exercised a transformative impact on the ways in which both art objects and practical designs are produced, exhibited, encountered, and used. Through his globally recognized visual work and his incisive critical and theoretical writing, Judd introduced an art that exists on its own determinedly physical terms, removed from notions of metaphor and illusion and about the here and now with no recourse to past narratives. Individually, each of his works delineates created interior space and the exterior space it occupies; there are no identical works within the group.

#DonaldJudd

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Donald Judd

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Toby Kidd
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From the Quarterly

Donald Judd: Untitled: 1970

In this video, Flavin Judd, the artist’s son and artistic director of Judd Foundation, discusses a historic large-scale work by his father from 1970, ahead of its presentation at Art Basel Unlimited 2024.

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.

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.

Behind the Art
Donald Judd: Exhibition Tour

In this video, Flavin Judd, the artist’s son and artistic director of Judd Foundation, leads a walkthrough of the exhibition Donald Judd: Artwork: 1980 at Gagosian, West 21st Street, New York. Flavin connects the work to the concurrent retrospective at the Museum of Modern Art, New York, and the permanent installations in Marfa, Texas, highlighting how it fits within Judd’s oeuvre.

Donald Judd: Artwork: 1980

Flavin Judd, the artist’s son and artistic director of Judd Foundation, speaks with Kara Vander Weg about the recent installation of the sculptor’s eighty-foot-long plywood work from 1980 at Gagosian, New York.