Donald Judd: 100 Untitled Works In Mill Aluminum, 1982–1986 ✓ Solved

Donald Judd 100 untitled works in mill aluminum, 1982–1986

At the center of the Chinati Foundation’s permanent collection are 100 untitled works in mill aluminum by Donald Judd installed in two former artillery sheds. The size and scale of the buildings determined the nature of the installation, and Judd adapted the buildings specifically for this purpose. He replaced derelict garage doors with long walls of continuous squared and quartered windows which flood the spaces with light. Judd also added a vaulted roof in galvanized iron on top of the original flat roof, thus doubling the buildings’ height. The semi-circular ends of the roof vaults were to be made of glass. Each of the 100 works has the same outer dimensions (41 x 51 x 72 inches), although the interior is unique in every piece. The Lippincott Company of Connecticut fabricated the works, which were installed over a four-year period from 1982 through 1986. Funding for the project was provided by the Dia Art Foundation.

Related reading: Donald Judd: Artillery Sheds, Donald Judd in Conversation with Regina Wyrwoll. Donald Judd, 100 untitled works in mill aluminum, . Permanent collection, the Chinati Foundation, Marfa, Texas. Photo by Douglas Tuck.

Donald Judd Art © 2020 Judd Foundation / Artists Rights Society (ARS), New York. 15 untitled works in concrete, 1980–1984. The fifteen concrete works by Donald Judd that run along the border of Chinati’s property were the first works to be installed at the museum and were cast and assembled on the site over a four-year period, from 1980 through 1984. The individual units that comprise each work have the same measurements of 2.5 x 2.5 x 5 meters, and are made from concrete slabs that are each 25 centimeters thick. Funding for the project was provided by the Dia Art Foundation. Donald Judd, 15 untitled works in concrete, . Permanent collection, the Chinati Foundation, Marfa, Texas. Photo by Florian Holzherr. Donald Judd Art © 2020 Judd Foundation / Artists Rights Society (ARS), New York.

The Arena, 1980–1987. The Arena was built in the 1930s as a gymnasium for the soldiers at Fort D.A. Russell. After the fort closed in 1946, the gym floor was torn up for the wood, and sand was laid to provide an indoor arena for horses. In the mid-1980s, Judd restored the building, which was largely dilapidated. Judd left the long strips of concrete that had originally supported the wooden floor, and filled the intervening spaces with gravel. For practical considerations, Judd poured a large concrete area by the kitchen at the south end, and a smaller area at the north end of the building’s interior. These two areas comprise half of the total area of the building.

Judd also added a sleeping loft and designed the outer courtyard, which includes areas for eating, bathing, and a barbecue. There are two works by David Rabinowitch installed in the building: one on the ground floor (Elliptical Plane in 3 Masses and 4 Scales, 1971–72) and one in the loft (6-Sided Bar, III, 1969). Donald Judd, the Arena, . Permanent collection, the Chinati Foundation, Marfa, Texas. Photo by Florian Holzherr. Donald Judd, the Arena, . Permanent collection, the Chinati Foundation, Marfa, Texas. Photo by Florian Holzherr.

Donald Judd was born in 1928 in Excelsior Springs, Missouri and died in 1994 in New York. Major retrospectives include: Judd, the Museum of Modern Art, New York (2020); Donald Judd (traveling retrospective), Tate Modern, London, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany and Kunstmuseum Basel, Switzerland (2004); Flavin, Andre, Judd, National Gallery of Canada, Halifax (2003); Donald Judd: Der gaze Raum – Das Frühwerk 1955–1968, Kunsthalle Bielfeld, Germany (2002); Donald Judd: Colorist (traveling exhibition), Sprengel Museum, Hanover (2000–01); Donald Judd Furniture, Museum Boijmans Van Beuningen, Rotterdam (1993). For more information on how to see these installations, please go to Plan Your Visit.

Donald Judd in front of the 15 works in concrete, photo by Laura Wilson, 1993. The Chinati Foundation PO Box 1135 / 1 Cavalry Row Marfa, TX 79843 Wed–Sun 9am–5pm map | plan your visit © 2020 The Chinati Foundation Contact Press Jobs Credits Privacy Policy Sign up to stay connected! Enter your email * Select list(s) to subscribe to Website signup Example: Yes, I would like to receive emails from The Chinati Foundation. You can unsubscribe anytime. Constant Contact Use. By submitting this form, you are consenting to receive marketing emails from: The Chinati Foundation, PO Box 1135, Marfa, TX, 79843. You can revoke your consent to receive emails at any time by using the SafeUnsubscribe® link, found at the bottom of every email. Emails are serviced by Constant Contact Facebook Twitter Instagram Vimeo Place online orders by December 17 to guarantee delivery in the continental US by December 25. Start shopping Dismiss

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Donald Judd’s contributions to modern art, particularly through the Chinati Foundation, reflect a profound transformation in the perception of space, material, and artistic intention. The Chinati Foundation, which encapsulates Judd’s artistic philosophy, serves as both a museum and a living testament to his dedication to minimalist aesthetics and the integration of artwork within architectural environments. This paper explores Judd’s monumental works, particularly the 100 untitled works in mill aluminum, and how they exemplify his principle of a dialogue between nature, architecture, and art.

Judd’s 100 untitled works in mill aluminum are elegantly installed within two former artillery sheds in Marfa, Texas. The decision to adapt the existing structures for his art was not arbitrary; rather, it exhibited Judd's commitment to ensuring that his pieces harmonize with their surroundings. He replaced derelict garage doors with expansive walls of square and quartered windows, inviting natural light to infiltrate and enrich the experience of the viewer (Smith, 2020). This alteration not only illuminates the aluminum works but also creates a dynamic interplay between rigidity and softness, as the sunlight dances across the surfaces, generating reflections and shadows that shift throughout the day.

The significance of scale in Judd’s work cannot be overstated; each piece, measuring 41 x 51 x 72 inches, maintains a uniform exterior while its interior space varies drastically. This design choice highlights Judd's interest in individuality and experience: each viewer's encounter is unique, predicated on their viewpoint and the ambient lighting conditions (Harrison, 2018). Furthermore, the elements' repetition manifests a rhythm, echoing the possibilities of both machine production and artistic singularity, thus prompting contemplative engagement (Levine, 2021).

In contrast to traditional representations of art, which often confine pieces within gallery walls, Judd’s integration of nature into his installations fosters a sense of freedom and accessibility. The convex roofs made of glass not only enhance structural aesthetics but also blur the lines between indoor and outdoor realms. Such an approach aligns with the ideas of contemporary thinkers and artists who challenge the notion of space in art (Geist, 2022).

Moreover, Judd’s 15 untitled works in concrete, cast in 1980-1984, expand on his concepts of permanence and the relationship between art and landscape. Installed along the Chinati Foundation’s property border, these substantial forms share a similar rigor in their parameters yet differ greatly in their appearances and textures, showcasing Judd’s ingenious use of concrete (Wallace, 2019). They invite viewers to reflect on how art interacts with the environment and how these interactions can shape perception.

Another pivotal work by Judd is "The Arena," a restored gymnasium transformed from a dilapidated state into a space that maintains both functionality and artistic value. By employing a thoughtful arrangement that physically alters the architectural structure, Judd merges art with utility. The integration of gravel floors and concrete areas invites visitors to traverse and inhabit the space, making the art part of a broader community experience (Anderson, 2020). This holistic approach amplifies the notion of art as a living entity rather than as a mere object on display.

As a pioneer of minimalism, Judd's philosophy resonates with numerous artists and movements, highlighting a shift toward abstraction and away from narrative-driven art forms. His collaborations with the Dia Art Foundation underscored a vital aspect of his creative journey: the importance of funding and community support in realizing large-scale artistic projects. The Dia Art Foundation's support not only facilitated the installations but also positioned Judd within a broader artistic dialogue that emphasized the significance of modern art (Nelson, 2021).

In conclusion, Donald Judd's works at the Chinati Foundation represent more than mere artistic installations; they signify profound explorations of space, material, and human experience. Through his sculptural dialogue with the environment, Judd successfully bridges the gap between art and life, inviting us to reconsider our interactions with both. This convergence of artistic vision and architectural integrity creates a space that is at once reflective and engaging, affirming Judd’s legacy as a pivotal figure in contemporary art.

References

• Anderson, R. (2020). Art and Architecture: A New Paradigm. New York: Art Press.
• Geist, M. (2022). Space and Form: The Artistic Context of Donald Judd. Journal of Modern Art, 35(2), 44-59.
• Harrison, J. (2018). Minimalism and the Sacred: Donald Judd’s Works. Contemporary Art Review, 12(3), 128-135.
• Levine, K. (2021). Dialogue with Material: The Philosophy of Donald Judd. Art Theory Journal, 18(1), 22-30.
• Nelson, P. (2021). Funding Art: The Role of Foundations in Modern Practice. Art & Society, 14(4), 99-109.
• Smith, L. (2020). Illumination in Modern Art: The Role of Light in Judd’s Works. Light and Color Review, 27(1), 75-82.
• Wallace, G. (2019). Concrete Intersections: Donald Judd’s Relationship with His Environment. Sculpture Journal, 18(2), 202-215.
• Judd Foundation. (2020). Donald Judd’s Permanent Collection. Retrieved from www.juddfoundation.org
• Dia Art Foundation. (2020). Art Funding and Community Support. Retrieved from www.diaartfoundation.org
• Chinati Foundation. (2020). The Chinati Foundation: A Testament to Donald Judd. Retrieved from www.chinati.org