December 1, 2021
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.
This program was presented by Gagosian, in partnership with Judd Foundation, on November 17, 2021
Artwork © Judd Foundation/Artists Rights Society (ARS), New York; video: Pushpin Films
Donald Judd: Paintings 1959–1961, Gagosian, 555 West 24th Street, New York, November 10, 2021–January 22, 2022
From their respective fields, three international cultural figures—artist and designer Ronan Bouroullec, fashion visionary Michèle Lamy, and chef and restaurateur Enrique Olvera—reflect on Donald Judd’s work in furniture, the subject of recent exhibitions in South Korea and Japan.
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.
The Fall 2022 issue of Gagosian Quarterly is now available, featuring Jordan Wolfson’s House with Face (2017) on its cover.
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.
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.
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.
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.
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.
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.
Ahead of Persephone, an exhibition of new paintings by Mary Weatherford inside Hong Kong’s historic Pedder Building, the Quarterly’s Wyatt Allgeier met with Weatherford and the architect Mark Lee to talk about their collaboration. Here, they discuss how custom architectural interventions—from mirrored columns to strategic light play—transform the gallery, evoking Persephone’s mythic journey through the underworld and back into the light of spring.
Ahead of her exhibition over the summer at the National Portrait Gallery, London, Jenny Saville met with the novelist Douglas Stuart to discuss Glasgow, the beauty and blemishes of bodies, and their respective creative processes.
Join Gagosian for a conversation between Derrick Adams and Ekow Eshun, author, curator, and chair of the commissioning group for the Fourth Plinth in Trafalgar Square, London. The pair discuss Adams’s latest paintings depicting visions of Black Americana—featured in the exhibition Situation Comedy at Gagosian, Davies Street, London—within the context of British contemporary culture.