List of illustrations

  • Untitled
  • Untitled
  • Alternate Diagonal of March 2, 1964
  • First Landing Jump
  • Untitled
  • Untitled
  • Untitled
  • To Dave Shackman
  • Hot Half (DU 653)
  • Untitled
  • Ouk 2
  • Confluence
  • Untitled
  • A Rope Tree
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Homage to the Square, Luminant
  • Untitled
  • Untitled
  • Autumn Rhythm (Number 30)
  • Nets
  • R 70–74
  • Untitled
  • Untitled
  • Untitled
  • La Mansana de Chinati/The Block courtyard with Untitled
  • Torso-Kore, edition 2/5
  • Untitled (Pair)
  • Untitled; Untitled
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Shining Forth (To George)
  • Untitled
  • Blivet illusion
  • Standard coordinate system
  • Untitled (no. 1 of 100 untitled works in mill aluminum)
  • Untitled (no. 2 of 100 untitled works in mill aluminum)
  • Untitled (no. 3 of 100 untitled works in mill aluminum)
  • Untitled (no. 4 of 100 untitled works in mill aluminum)
  • Untitled (no. 41 of 100 untitled works in mill aluminum)
  • Miss Lucy Pink
  • Mr. Press
  • Redwing
  • Cubi XIX
  • Sicilian Chance
  • Installation view of "Black, White, and Gray" exhibition: (left to right) Untitled (Portal); Untitled (Frame); Two Columns; (foreground) Untitled (Slab)
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • 101 Spring Street, New York, fourth floor
  • Untitled
  • Creede II
  • Duality Triumphant: Per IV: Heaven-Female
  • Untitled
  • Woman in a Restaurant Booth
  • Oradalki
  • Floor Cone
  • Cakes No. 1
  • Essay on Sculpture for E. C. Goosen
  • Steel-Aluminum Plain
  • Soft Switches (Version 2) (CO/N-11)
  • Untitled
  • Untitled
  • Untitled
  • ABCD 5
  • Untitled
  • Untitled
  • Drawing of an Object from 1966
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • View of fifteen untitled works in concrete, south to north
  • Plan of fifteen untitled works in concrete
  • Untitled (15 variations on a box)
  • Untitled and Untitled (no. 15 and no. 14 of fifteen untitled works in concrete)
  • Untitled and Untitled (no. 13 and no. 12 of fiteen untitled works in concrete)
  • American Flag in Negative Colors of the Spectrum
  • The Public Life: Lower Manhattan Township
  • Letter from Don Judd to Robert Smithson and Nancy Holt
  • The Public Life: Citizens Organize To Form Urban Townships
  • Untitled ("Quotes for the War Resisters League")
  • The Public Life: How to Make the United States a Democracy
  • The Public Life: What a Democratic NY City Would Look Like
  • This is the Spell of Chanel
  • Marlboro Round-up
  • Shall We Tear Down the Ghettos or Let Them Burn Up? (worksheet for summer action)
  • End the Killing in Vietnam. Negotiate Withdrawal Now! (worksheet for summer action)
  • Sadam Es Malo/Bush Es Peor
  • Stop Bush
  • Ayala de Chinati, Las Casas, exterior view of main house, Presidio County, Texas
  • Ayala de Chinati, Las Casas, interior, main house, front room, Presidio County, Texas
  • Architecture Studio (Bank Building), exterior view
  • Seedbed
  • Pryings
  • Following Piece
  • Following Piece
  • Cloud Gate
  • 1000 Names
  • Darkytown Rebellion
  • Untitled
  • Untitled (The Warriors)
  • Untitled
Free
Description: Donald Judd
Contents
PublisherYale University Press
Free
Description: Donald Judd
I am grateful for supportive friends and trusted readers, including, first and foremost, Jodi Cressman, and also David Anfam, Allan Antliff, Jim Elkins, David Getsy, James Lawrence, Jeff Leiken, Tom Meyer, Mike Schreyach, and Richard Shiff. I also received terrific advice on the manuscript from Harry Cooper, Whitney Davis, and Robert Storr, who read at Yale’s request, and plenty of other help from Missy Allen, Anne Collins Goodyear, Adrian Kohn, Anna Kryczka, Jane McFadden, Amy Peltz, Sarah …
PublisherYale University Press
Description: Donald Judd
Donald Judd created spirit as well as form, thought together with feeling, and ethics alongside uncertainty. Polarities like these help keep existence open, and are, I imagine, one of the reasons why he objected to the label “Minimal.” “I don’t think anyone’s work is...
PublisherYale University Press

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Description: Donald Judd
Judd made his first “new three-dimensional work” in 1962. He built DSS 29 from a red and black wooden rectangular frame that surrounds a four-foot-long black asphalt pipe, which vertically bisects a canvas covered in light cadmium red paint, wax, and sand (fig....
PublisherYale University Press

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Description: Donald Judd
Judd said that he came close to writing actual art criticism only once, as opposed to his usual review articles. That was with “John Chamberlain: another view,” an essay from 1963, and he described how Chamberlain’s excessive crumpling, crushing, folding, and joining made the works seem as if they were continuously changing. He called this quality “superfluidity,” and its senses of “freedom . . . and indeterminacy” are the central characteristics, I shall argue, of credible art. …
PublisherYale University Press

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Description: Donald Judd
Disparity is a method against determinism. It opens existence to free will, which is why credible art never settles. This type of aesthetic experience concentrates the sensual complexity of reality. By reality, I mean both physics and fantasy. “It is a case of a ‘transition,’” Gilles Deleuze explained, “of a ‘change,’ a becoming, but it is a becoming that endures, a change that is substance itself.” We are, disparity makes clear, but the emergence of spirit and matter. …
PublisherYale University Press

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Description: Donald Judd
Citizenship is the public name for the interest that Henry Steele Commager claimed “challenged authority, dissolved institutions, destroyed security.” Against party mandates, religious commandments, and transcendent aesthetics, satisfaction and unease are the thoughts and feelings that compel us to act and which adjust our course with every breath we take. Being exists in individual failures and social successes, which is a process of trial and error that Perry described with passion. “He who …
PublisherYale University Press

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Description: Donald Judd
Scale does not stop with Chamberlain, Bontecou, Oldenburg, Judd, or their peers. All art has scale, the facts and values that we judge through interest, shape into local orders, test for credibility, and add to reality. As fully part of that reality, art is but one vibration in the world’s emergence. Popper argued for a similar indeterminism to conclude his empirical theory of experience. “Whether or not we look at the universe as a physical machine,” he wrote, “we should face the fact that it …
PublisherYale University Press

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Description: Donald Judd
Bibliography
PublisherYale University Press

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Free
Description: Donald Judd
Photo Credits
PublisherYale University Press
Free
Description: Donald Judd
Index
PublisherYale University Press
Donald Judd
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