Donald Judd

This pioneering book, the first monograph devoted to Donald Judd, addresses the whole breadth of Judd?s practices. Drawing on documents found in nearly twenty archives, David Raskin explains why some of Judd?s works of art seem startlingly ephemeral while others remain insistently physical. In the process of answering this previously perplexing question, Raskin traces Judd?s principles from his beginnings as an art critic through his fabulous installations and designs in Marfa, Texas. He discusses Judd?s early important paintings and idiosyncratic red objects, as well as the three-dimensional works that are celebrated throughout the world. He also examines Judd?s commitment to empirical values and his political activism, and concludes by considering the importance of Judd?s example for recent art.Ultimately, Raskin develops a picture of Judd as never before seen: he shows us an artist who asserted his individuality with spare designs; who found spiritual values in plywood, Pl

Arts & Photography

Raskin, David

History & Criticism

Yale University Press

An authoritative look at the art, life, and legacy of a revered artist This pioneering, critically acclaimed book, originally published in 2010 and now available in paperback, is an authoritative and enlightening guide to a wide array of works by the great American artist Donald Judd (1928–1994). Showcasing the entire breadth of Judd’s practices, the book draws on documents from nearly twenty archives and investigates Judd and his work both within and outside the context of the 1960s Minimalist art movement. David Raskin explains why some of Judd’s works seem startlingly ephemeral while others remain insistently physical; in the process of answering this perplexing question, Raskin traces Judd’s principles from his beginnings as an art critic through his fabulous installations and designs in Marfa, Texas. Raskin develops a truly singular picture of Judd: he shows us an artist who asserted his individuality with spare designs; who found spiritual values in plywood, Plexiglas, and industrial production; who refused to distinguish between thinking and feeling while asserting that science marked the limits of knowledge; who claimed that his art provided intuitions of morality but not a specific set of tenets; and who worked for political causes that were neither left nor right.

The Language of Less (Then and Now) accompanies an exhibition at MCA Chicago inspired by the museum’s rich holdings of Minimalist and post-Minimalist art of the 60s and 70s. These are complemented by works from a younger generation of artists, such as Leonor Antunes, Carole Bove, Jason Dodge, Gedi Sibony and Oscar Tuazon.

The Language of Less, Then and Now (Museum of Contemporary Art, Chicago: Exhibition Catalogues)

Darling, Michael

Museum Of Contemporary Art, Chicago

Idol Structures accompanies an exhibition at the DePaul Art Museum of recent photographs and sculptures by Chicago-based artist Matt Siber, whose work explores the systems of corporate and mass-media communication that permeate the urban landscape. Instead of focusing on the information itself, Siber emphasizes the physical infrastructure of these systems. Photographs of the narrow edges of signs, sculptures of billboard ads hanging so loosely that their text is obscured in the folds, and other unique treatments of promotional materials distort and subvert the intended messages. The artist’s deconstruction of such commercial efforts reveals an element of communication meant to remain invisible and subservient to image, text, and graphics. By highlighting the everyday objects used to persuade and influence, Siber’s art undermines these communication systems’ ability to do precisely what they were intended to do.

Matt Siber: Idol Structures

Siber, Matt

Individual Artists

DePaul Art Museum

One of the most influential American artists of the post-war period, Donald Judd changed the course of modern sculpture. Beginning as an art critic and then a painter, Judd moved into three dimensions with the box-like structures he produced in the early 1960s, either arranged on the gallery floor or mounted on the wall. Initially constructed by hand, the sculptures were later industrially manufactured in galvanized iron, steel, Plexiglas, and plywood. His use of vibrant color, polished and reflective metals, and brightly hued lacquer confounded and continues to confound expectations of what "minimalist" sculpture should look like. This lavishly illustrated survey features 41 works from collections around the world, many of them large scale, each illustrated with full catalogue entries alongside many other major works by Judd. Contributors Nicholas Serota (Director of the Tate), Rudi Fuchs (former Director of The Stedelijk Museum, Amsterdam), American critics Richard Schiff and David Raskin, and British artist and critic David Batchelor explore the conflicts between previous critical interpretations of Judd and his own philosophical, political, and moral understanding of his work. Judd's critical response to the work of other artists is examined, as is the importance of color to his work, and his reaction to new man-made materials and artificially generated color in the late-20th-century environment. A section on Judd's installations at Marfa in Texas, and an extensive new chronology, compiled by Judd's assistant, Jeff Kopie, are also included. Donald Judd compromises the most thorough and up-to-date publication on Judd in print today.

Shiff, Richard

Batchelor, David

Jervis, John

Serota, Nicholas

D.A.P./Tate

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Books by Raskin, David

See the best price to sell, buy, or rent books by Raskin, David. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Donald Judd

Donald Judd

The Language of Less, Then and Now (Museum of Contemporary Art, Chicago: Exhibition Catalogues)

Matt Siber: Idol Structures

Donald Judd