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拍品專文
Most of Donald Judd's prodigious sculptural output consists of box shapes. Some stand or hang singly, while others consist of several boxes lined up on the floor or fastened to the wall in vertical columns or horizontal rows. Some are massive and give the impression of an implacable solidity, while others - such as the current work - are more discrete and seem to float in space.
In 1964 Judd wrote an essay entitled "Specific Objects", which has come to be not only his most quoted text, but is also regarded as an unofficial manifesto of his aesthetic precepts. In this article Judd identified a new concept of art, exemplified in a new kind of work which conformed to neither the conventional categories of painting or sculpture. Unbendingly factual, Judd's new art was dependent on his concept of "order". In place of traditional composition, defined as the subordination of parts to a whole, Judd wanted a single overall form. Order was to be congruent with structure and image. Seeking to abandon subjective or expressive modes, the artist intended to create a practice unequivocally allied with materialist philosophy and empirical science. As he explained "(Art) is not a kind of knowledge that supersedes science. Art …is general and science is particular" (Judd quoted in Donald Judd, Repères - Cahiers d'art contemporain, Paris 1987, p. 9).
His work from the 1980s introduced notions subtly at variance with earlier principles. His former insistence on each work as a single entity, composed from repeated or identical units, was revised to allow works in which the individual modules are different dimensions, permutations on a theme rather than strict repetitions. In Untitled determined by the variety of component parts. The sense of facticity and 'object presence' is maintained from earlier work, but lost is the sense of finality or closure. The internal arrangement also departs from his prior insistence on geometric and arithmetic systems, embracing a greater complexity and indeterminacy. Almost as if Judd was mirroring contiguous advances in scientific discourse, such as Chaos theory and Quantum mechanics, which sought to describe random or chaotic behaviour in the complex systems of the world around us.
Two years after the execution of Untitled (84-48 Lippincott) Judd would open The Chinati Foundation in Marfa, West Texas. A permanent, curated and conserved installation of a significant body of his own work and those artists he championed, such as John Chamberlain. The artist's seminal legacy in post-war art was well under way.
In 1964 Judd wrote an essay entitled "Specific Objects", which has come to be not only his most quoted text, but is also regarded as an unofficial manifesto of his aesthetic precepts. In this article Judd identified a new concept of art, exemplified in a new kind of work which conformed to neither the conventional categories of painting or sculpture. Unbendingly factual, Judd's new art was dependent on his concept of "order". In place of traditional composition, defined as the subordination of parts to a whole, Judd wanted a single overall form. Order was to be congruent with structure and image. Seeking to abandon subjective or expressive modes, the artist intended to create a practice unequivocally allied with materialist philosophy and empirical science. As he explained "(Art) is not a kind of knowledge that supersedes science. Art …is general and science is particular" (Judd quoted in Donald Judd, Repères - Cahiers d'art contemporain, Paris 1987, p. 9).
His work from the 1980s introduced notions subtly at variance with earlier principles. His former insistence on each work as a single entity, composed from repeated or identical units, was revised to allow works in which the individual modules are different dimensions, permutations on a theme rather than strict repetitions. In Untitled determined by the variety of component parts. The sense of facticity and 'object presence' is maintained from earlier work, but lost is the sense of finality or closure. The internal arrangement also departs from his prior insistence on geometric and arithmetic systems, embracing a greater complexity and indeterminacy. Almost as if Judd was mirroring contiguous advances in scientific discourse, such as Chaos theory and Quantum mechanics, which sought to describe random or chaotic behaviour in the complex systems of the world around us.
Two years after the execution of Untitled (84-48 Lippincott) Judd would open The Chinati Foundation in Marfa, West Texas. A permanent, curated and conserved installation of a significant body of his own work and those artists he championed, such as John Chamberlain. The artist's seminal legacy in post-war art was well under way.