Chinati: The Vision of Donald Judd
Edited by Marianne Stockebrand. Texts by Rudi Fuchs, Donald Judd, Thomas Kellein, Nicholas Serota, Richard Shiff, Marianne Stockebrand, and Rob Weiner
This publication is the first comprehensive overview of the Chinati Foundation’s history and collection. Edited and principally written by Marianne Stockebrand, Chinati: The Vision of Donald Judd describes how Donald Judd developed his ideas of the role of art and museums from the early 1960s onward, culminating in the creation of Chinati (and including its two predecessors—his building in New York and his residence in Marfa). The sumptuously illustrated book (with 149 color and 71 black-and-white illustrations), co-published by Chinati and Yale University Press, begins with an introductory essay surveying the history of Judd’s work in Marfa, then presents the individual installations at the museum in chronological order, with stunning photography. In addition to the essays by Marianne Stockebrand, the volume contains texts by Rudi Fuchs, former director of the Stedelijk Museum, Amsterdam; Thomas Kellein, director of the Kunsthalle Bielefeld, Germany; Nicholas Serota, director of the Tate, London; Richard Shiff, professor and Effie Marie Cain Regents Chair in Art at the University of Texas; and Rob Weiner, associate director of the Chinati Foundation. Also featured are writings by Donald Judd relating to Chinati and his other buildings in Marfa. A detailed catalogue of the collection and artists’ bibliographies are included as well.
Publisher: Yale University Press / The Chinati Foundation
Artists: Donald Judd
Contributors: Rudi Fuchs, , Thomas Kellein, Nicholas Serota, , Marianne Stockebrand, Rob Weiner
Publication Date: 2010
Binding: Hardcover
Dimensions: 10 x 11 1/2 in (25.4 x 29.2 cm)
Pages: 328
Reproductions: 170 color, 70 b&w
ISBN: 9780300169393
Retail: $75 US & Canada | £45 | €56
Status: Available
Donald Judd
The work of Donald Judd (1928–1994), one of the most significant American artists of the postwar period, has come to define what has been referred to as minimalist art—a label to which the artist strongly objected on the grounds of its generality. The unaffected, straightforward quality of Judd’s work demonstrates his strong interest in color, form, material, and space. With the intention of creating work that could assume a direct material and physical “presence” without recourse to grand philosophical statements, he eschewed the classical ideals of representational sculpture to create a rigorous visual vocabulary that sought clear and definite objects as its primary mode of articulation.