by Alicia Bona "It was never a question of whether you liked Judd's work or not; you could not get over it. It would not leave you alone. It gnawed on you. It made you drop dearly held beliefs. It was not 'obvious' art; it didn't look like art. Nevertheless, it insisted on being taken seriously." - Richard Serra, Donald Judd, 1928-1994, Parkett, June 1994, pp.176-177 Untitled, 1966-67 is as his fellow sculptor Richard Serra so aptly remarked, a Donald Judd piece that insists on being taken seriously. A rare example of Judd's early work, Untitled, 1966-67 is monumental in form and volume and exquisite in colour. It is a six-piece stainless steel horizontal progression that commands the space in which it is exhibited as powerfully today as it did in 1966. Coming from the collection of legendary art dealer and collector Irving Blum, the piece is the highlight of the Christie's season at Rockefeller Center. Mr. Blum, the legendary collector and art dealer, championed Judd's work early and supported the artist's vision throughout his lifetime. His commitment to Judd is in earnest: Blum has kept this colossal work in his personal collection since 1967. Untitled, 1966-67 expertly combines the many signature formal qualities which Judd used throughout his artistic career - shape, proportion, colour and volume. The piece was initiated by Judd in 1966 and was fabricated by January 1967. It has been exhibited only twice in thirty-four years; at the Irving Blum Gallery in Los Angeles in 1968 and then in the 1971 'Don Judd' exhibition curated by John Coplans at the Pasdena Art Museum. A seminal work of this stature and importance is rarely seen in the marketplace. In the splendour of its original pristine condition, Untitled, 1966-67 defines Judd's artistic spirit and legacy and is among the artist's greatest works. The piece consists of six 34 x 34 x 34 inch units of stainless steel with yellow Plexiglas. The eight-inch intervals between the units counter-balance the weight of the work. Judd's masterful balancing of opposing forces is brilliantly executed in this work; the warmth of the yellow contrasts with the coldness of the stainless steel. Yellow has various connotations, most commonly the warmth of light itself, a major concern for Judd. As the light reflects off the metal, the illuminated sculpture appears to float. Known for his precise artistic intentions, Judd furthered his sculptural ideas in the early 1970s when he purchased a 45,000 acre ranch overlooking the Rio Grande in West Texas; as well as known buildings in and around Marfa. His works from the 1960s - exemplified by Untitled, 1966-67 - are the touchstones for his later project, now known as the Chinati Foundation, which is the world's largest permanent contemporary art installation and a Mecca for artists and collectors. ALICIA BONA IS A SPECIALIST IN THE CONTEMPORARY ART DEPARTMENT, CHRISTIE'S NEW YORK Back to top