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.
Fall 2022 Issue
The Fall 2022 issue of Gagosian Quarterly is now available, featuring Jordan Wolfson’s House with Face (2017) on its cover.
Jordan Wolfson’s House with Face (2017) on the cover of Gagosian Quarterly, Fall 2022
Jordan Wolfson’s House with Face (2017) on the cover of Gagosian Quarterly, Fall 2022
Inside this edition, we’re honored to publish the last text written by the late Dave Hickey about his 2018 visit to Michael Heizer’s City, which is opening to the public this fall. Christo and Jeanne-Claude’s public installation The Iron Curtain (1962) is profiled by William Middleton, who demonstrates the impact of this work on the pair’s future projects. Jordan Wolfson speaks with Sam Lipsyte and Joey Frank in anticipation of the third installment of Picture Books.
Also in this issue, we present the newest series of photographs by Tyler Mitchell, alongside a text by Brendan Embser. The online Duchamp Research Portal is the subject of the latest installment in our Building a Legacy series. Diane von Furstenberg speaks with Derek Blasberg about Andy Warhol, the 1970s, and the importance of keeping a diary. Michael Auping pays tribute to the groundbreaking contributions of the late Constance Lewallen.
There are also features exploring the work of Minnette De Silva, Mehdi Ghadyanloo, Katy Hessel, Donald Judd, Y.Z. Kami, Jota Mombaça, Giuseppe Penone, Setsuko, Taryn Simon, Cy Twombly, and Amanda Williams.
For all of this and more, order your copy or subscribe at the Gagosian Shop, or read the issue online.
Artwork © Jordan Wolfson
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.
Harry Thorne reflects on Brian O’Doherty’s recording of Marcel Duchamp’s heart.
The Summer 2023 issue of Gagosian Quarterly is now available, featuring Richard Avedon’s Marilyn Monroe, actor, New York, May 6, 1957 on its cover.
Le Couvent Sainte-Marie de La Tourette, in Éveux, France, is both an active Dominican priory and the last building designed by Le Corbusier. As a result, the priory, completed in 1961, is a center both religious and architectural, a site of spiritual significance and a magnetic draw for artists, writers, architects, and others. This fall, at the invitation of Frère Marc Chauveau, Giuseppe Penone will be exhibiting a selection of existing sculptures at La Tourette alongside new work directly inspired by the context and materials of the building. Here, Penone and Frère Chauveau discuss the power and peculiarities of the space, as well as the artwork that will be exhibited there.
Michael Heizer’s City, an artwork over fifty years in the making, opened to the public this fall. To celebrate this momentous occasion, we are honored to publish the late Dave Hickey’s report on his visit to the City.
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.
The artists address their shared ardor for poetry, the surfaces of painting, and nature.
Join Setsuko on a tour of her exhibition at the Musée national des châteaux de Malmaison et Bois-Préau in Rueil-Malmaison, France, the former residence of Empress Joséphine. The video brings together the artist; Isabelle Tamisier-Vétois, chief curator, and Élisabeth Caude, director, Musée national des châteaux de Malmaison et Bois-Préau; and Benoît Astier de Villatte, cofounder of the atelier Astier de Villatte, Paris. They discuss the origins and development of the project, which is designed as a dialogue between Setsuko’s work and the decorative ceramics held in the museum’s collection.
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.
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, 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.