Beauty and the Box: One Sculptor's Passion the Museum of Modern Art in Oxford, England, Hosts 'Specific Objects' of Artist Donald Judd

By Christopher Andreae, writer of The Christian Science Monitor | The Christian Science Monitor, March 22, 1995 | Go to article overview
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Beauty and the Box: One Sculptor's Passion the Museum of Modern Art in Oxford, England, Hosts 'Specific Objects' of Artist Donald Judd


Christopher Andreae, writer of The Christian Science Monitor, The Christian Science Monitor


Compromise was hardly American artist Donald Judd's middle name. He saw one side of a question and stuck to it. If he had had a middle name, it would probably have been "clarity."

Everything about Judd's work and his writings on art evinces clarity. It is this quality that makes the current exhibition of Judd's work at the Museum of Modern Art Oxford so stimulating.

It is refreshing to become reacquainted with an artist who is so definite. "specific objects" was his label for his sculptures. But he did not just prefer the specific and the objective, he was in love with them; and his work has that kind of intensity.

I recall in the 1960s someone telling me that Judd's art was "Romantic." Puzzling. I have finally decided this is nonsense, his idealism being so pragmatic and his imagination being strictly subject to the literalness of what can be seen. And yet ...

Now, in Oxford, someone tells me Judd is "Baroque." Fascinating -- but surely nonsense too. Judd was insistent on the idea of "wholeness" as opposed to a buildup of parts. He disliked illusionism. He was the least deliberately theatrical of artists. He excised emotive elements from his work. The structure of his work is calmly devoid of crescendo or climax. How could such an artist be "Baroque"? And yet ...

If his work falls into any tradition, it must be the "Classical." He is a descendent of Alberti, not Bernini. His modern mentors seem more likely to be Mies van der Rohe and Gerrit Rietveld (he owned furniture by both) than Emil Nolde or Willem De Kooning. And yet ...

In Oxford the exhibition of Judd's sculpture, prints, furniture, and drawings for architecture is exceptionally popular, suggesting that Judd's work speaks to people as tellingly in the 1990s as it did when first seen in the '60s. It is unpretentious as well as uncompromising. It is also superbly made: Such things are in stabilizing contrast to today's multistyled, "who-cares" art mix.

Judd's work is closer to sculpture than painting only because it is in three dimensions.

His often boxlike structures developed, by his own logic, out of painting. He did not exterminate, but restated in different terms and materials (plywood, anodized aluminum, galvanized iron, concrete, brass, copper, plexiglas, enamel) certain essences of painting: characteristics of surface, emphasis on edges and lines, focus on shapes rather than masses (which he treats as basically empty), and on color, translucency, shadow, and reflectivity.

Unlike his friend (American sculptor) Dan Flavin, he does not incorporate real light in his works -- but surrounding light falling onto, bouncing off, percolating through, and directly penetrating his works. It is not simply unavoidable, but a crucial, even opulently sensuous part of them.

On the other hand, Judd's specific objects are anti-painting in the sense that he began to make them once he had concluded that painting was inescapably involved with illusion. The only way to escape from the illusory nature of painting was simply to do something different.

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