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拍品專文
1969 ushered a new kind of progression from Judd. Following the simple, equidistantly spaced, modular units of the earlier works he had started in 1964, in 1969 he began to introduce more complex mathematical sequences. Untitled is a particularly erudite progression that follows a system of doubling and subtraction (also based on doubling) whose juxtaposition with the geometric, industrial, fabricated aesthetic of Judd's oeuvre as a whole is entirely appropriate.
The mathematical sequence governing the present work grows in the format X, 2X-½, 2(2X-½)-3/4, 2[(2X-½)-¾]-1½, 2{2[(2X-½)-¾]-1½}-3 and so on. Translated into volumetric forms, the resulting shapes start very small and rapidly increase in size, in seemingly disproportionate growth. The interstices between units, which are as integral to Judd's work as the volumes themselves, follow the same pattern but run in the opposite direction such that the longest shapes are separated by the shortest spaces. Following this sequence, Untitled embodies the unequal, accelerating volumes and unequal, decelerating intervals between them. However, Judd modifies the sequence such that it reads in reverse order with the five forms ascending 3", 5 ½", 10 ¼", 19", 35, 1/8" from right to left.
Countering the cerebral impulse of the present progressions, Judd lends an emotional and spiritual quotient to his literal creations via his opulent use of colour. A dedicated colourist, he indulges in the burnished gleam of brass and the richness of anodized blue aluminium in this work. Unlike his austere Minimalist contemporaries, Judd accorded colour equal status to shape, volume and surface, stating once that 'everything could be conceived in colour'. Indeed, in Judd's oeuvre, colour is a distinct material in its own right. material in its own right.
Hinged to the wall, the five square-faced anodized blue aluminium boxes are connected together by the square-faced brass pipe that is attached to their upper surfaces so as to run flush with their frontal planes. Extending over ten feet, this arresting relief stretches across the parameters of the room. Surpassing painting, surpassing sculpture and increasingly broaching the realm of architecture, Untitled asserts itself very much in the domain of the human and in the space of the viewer.
The mathematical sequence governing the present work grows in the format X, 2X-½, 2(2X-½)-3/4, 2[(2X-½)-¾]-1½, 2{2[(2X-½)-¾]-1½}-3 and so on. Translated into volumetric forms, the resulting shapes start very small and rapidly increase in size, in seemingly disproportionate growth. The interstices between units, which are as integral to Judd's work as the volumes themselves, follow the same pattern but run in the opposite direction such that the longest shapes are separated by the shortest spaces. Following this sequence, Untitled embodies the unequal, accelerating volumes and unequal, decelerating intervals between them. However, Judd modifies the sequence such that it reads in reverse order with the five forms ascending 3", 5 ½", 10 ¼", 19", 35, 1/8" from right to left.
Countering the cerebral impulse of the present progressions, Judd lends an emotional and spiritual quotient to his literal creations via his opulent use of colour. A dedicated colourist, he indulges in the burnished gleam of brass and the richness of anodized blue aluminium in this work. Unlike his austere Minimalist contemporaries, Judd accorded colour equal status to shape, volume and surface, stating once that 'everything could be conceived in colour'. Indeed, in Judd's oeuvre, colour is a distinct material in its own right. material in its own right.
Hinged to the wall, the five square-faced anodized blue aluminium boxes are connected together by the square-faced brass pipe that is attached to their upper surfaces so as to run flush with their frontal planes. Extending over ten feet, this arresting relief stretches across the parameters of the room. Surpassing painting, surpassing sculpture and increasingly broaching the realm of architecture, Untitled asserts itself very much in the domain of the human and in the space of the viewer.