PROPERTY FROM A PRIVATE COLLECTION Donald Judd Untitled 1969 galvanized iron 5 x 40 x 9 in. (12.7 x 101.6 x 22.9 cm) This work is 2 of 3 unique variants.
Provenance Leo Castelli Gallery, New York Locksley Shea Gallery, Minneapolis Private Collection, Minnesota Exhibited Ottawa, Ontario, The National Gallery of Canada, Donald Judd May 24 – July 6, 1975 London, Saatchi Gallery, Donald Judd Brice Marden Cy Twombly Andy Warhol 1985 (another unique example exhibited) Eindhoven, The Netherlands, Stedelijk van Abbesmuseum, Donald Judd Beelden/Sculptures 1965 –1987, April 26 – June 2, 1987, then traveled to Städtische Kunsthalle, Düsseldorf (June 27 – August 9, 1987), Paris, Musée d'Art Moderne de la Ville de Paris (December 8, 1987– February 7, 1988), Barcelona, Fundació Joan Miró (February 25 – April 24, 1988) (another example exhibited) Literature D. Del Balso, B. Smith & R. Smith Donald Judd Catalogue Raisonné of Paintings, Objects and Wood-Blocks 1960-1974, Ottawa, 1975, p. 200, no. 197 (illustrated) Donald Judd exh. cat., Ottawa, Ontario, The National Gallery of Canada, 1975, no. 39 (illustrated) P. Schjeldahl, Art of Our Time: The Saatchi Collection, Book 1, London and New York: Lund Humphries, 1984, pl. 25 (illustrated) Donald Judd Beelden/Sculptures 1965 – 1987, exh. cat., Eindhoven, The Netherlands, Stedelijk van Abbesmuseum, 1987, pl. 14 (illustrated) Catalogue Essay “A work can be as powerful as it can be thought to be. Actual space is intrinsically more powerful and specific than paint on a flat surface.” Donald Judd 1964 Executed in 1969, Donald Judd's Untitled (DSS 197) is an early and spectacular rendition of one of the artist's most enduring themes that explore his fascination with measurements and mathematics. Judd first developed the progression format in 1964 with an initial series executed with rounded forms intercut with space. This series itself grew out of an even earlier investigation in which Judd set a hollow pipe into a solid wooden block. Then bisecting the pipe, and altering its own spatiality in reference to the form in which it sat, Judd began to delve further into the manner in which these manipulations of the object transfer into revolutions in space. Transformed into the idea of a progression, in which solid form and negative space alternate and interact according to an a priori mathematical system, Judd transferred this simple spatial play into relief form by extending the work horizontally and hanging it on the wall. In doing so, these manufactured works began to echo some of the formal developments that Judd, originally a painter, had experimented with in his early two-dimensional works. Projecting out from the flat plane of the wall in clear relief format, the hard-edged forms of the surface of Untitled (DSS 197) and the punctuated negative spaces between them articulate a spatial contortion in a similar, but ultimately more powerful and specific, fashion as painting does illusionistically. This clinically measured and precisely realized mathematical sequence of alternating form generates a simple relief that Judd intended would, in a way that is impossible in painting, involve itself in the flat but real space of the wall and interact with its greater surroundings. It was Judd's hope that the articulation of the manifest contrast between the flat plane of the wall and the relief itself would, dependent on its placement, invoke a wider understanding of the entire architecture of the space into which it was set. The first progression in this format was made in wood and painted with a dark red lacquer, but soon after, when Judd began having his works made by the industrial manufacturers Bernstein Brothers in 1964, these 'progressions,' were cast in a wide variety of metals. One of his most preferred materials, especially in these earlier years, was galvanized iron. Devoid of the art-historical referents of bronze, copper, or marble, galvanized iron satisfied Judd’s interest in developing a new art of the 20th century which would both consist of and speak to the materials of the age. Indeed, it was galvanized iron which Judd chose for his
PROPERTY FROM A PRIVATE COLLECTION Donald Judd Untitled 1969 galvanized iron 5 x 40 x 9 in. (12.7 x 101.6 x 22.9 cm) This work is 2 of 3 unique variants.
Provenance Leo Castelli Gallery, New York Locksley Shea Gallery, Minneapolis Private Collection, Minnesota Exhibited Ottawa, Ontario, The National Gallery of Canada, Donald Judd May 24 – July 6, 1975 London, Saatchi Gallery, Donald Judd Brice Marden Cy Twombly Andy Warhol 1985 (another unique example exhibited) Eindhoven, The Netherlands, Stedelijk van Abbesmuseum, Donald Judd Beelden/Sculptures 1965 –1987, April 26 – June 2, 1987, then traveled to Städtische Kunsthalle, Düsseldorf (June 27 – August 9, 1987), Paris, Musée d'Art Moderne de la Ville de Paris (December 8, 1987– February 7, 1988), Barcelona, Fundació Joan Miró (February 25 – April 24, 1988) (another example exhibited) Literature D. Del Balso, B. Smith & R. Smith Donald Judd Catalogue Raisonné of Paintings, Objects and Wood-Blocks 1960-1974, Ottawa, 1975, p. 200, no. 197 (illustrated) Donald Judd exh. cat., Ottawa, Ontario, The National Gallery of Canada, 1975, no. 39 (illustrated) P. Schjeldahl, Art of Our Time: The Saatchi Collection, Book 1, London and New York: Lund Humphries, 1984, pl. 25 (illustrated) Donald Judd Beelden/Sculptures 1965 – 1987, exh. cat., Eindhoven, The Netherlands, Stedelijk van Abbesmuseum, 1987, pl. 14 (illustrated) Catalogue Essay “A work can be as powerful as it can be thought to be. Actual space is intrinsically more powerful and specific than paint on a flat surface.” Donald Judd 1964 Executed in 1969, Donald Judd's Untitled (DSS 197) is an early and spectacular rendition of one of the artist's most enduring themes that explore his fascination with measurements and mathematics. Judd first developed the progression format in 1964 with an initial series executed with rounded forms intercut with space. This series itself grew out of an even earlier investigation in which Judd set a hollow pipe into a solid wooden block. Then bisecting the pipe, and altering its own spatiality in reference to the form in which it sat, Judd began to delve further into the manner in which these manipulations of the object transfer into revolutions in space. Transformed into the idea of a progression, in which solid form and negative space alternate and interact according to an a priori mathematical system, Judd transferred this simple spatial play into relief form by extending the work horizontally and hanging it on the wall. In doing so, these manufactured works began to echo some of the formal developments that Judd, originally a painter, had experimented with in his early two-dimensional works. Projecting out from the flat plane of the wall in clear relief format, the hard-edged forms of the surface of Untitled (DSS 197) and the punctuated negative spaces between them articulate a spatial contortion in a similar, but ultimately more powerful and specific, fashion as painting does illusionistically. This clinically measured and precisely realized mathematical sequence of alternating form generates a simple relief that Judd intended would, in a way that is impossible in painting, involve itself in the flat but real space of the wall and interact with its greater surroundings. It was Judd's hope that the articulation of the manifest contrast between the flat plane of the wall and the relief itself would, dependent on its placement, invoke a wider understanding of the entire architecture of the space into which it was set. The first progression in this format was made in wood and painted with a dark red lacquer, but soon after, when Judd began having his works made by the industrial manufacturers Bernstein Brothers in 1964, these 'progressions,' were cast in a wide variety of metals. One of his most preferred materials, especially in these earlier years, was galvanized iron. Devoid of the art-historical referents of bronze, copper, or marble, galvanized iron satisfied Judd’s interest in developing a new art of the 20th century which would both consist of and speak to the materials of the age. Indeed, it was galvanized iron which Judd chose for his
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
