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WHAT TO COLLECT # 127. KAWS

Born in 1974 in Jersey City, NJ, USA

Lives and works in New York, USA

Considered one of the most relevant artists of his generation, KAWS engages audiences beyond the museums and galleries in which he regularly exhibits. His prolific body of influential work straddles the worlds of art and design to include paintings, murals, large-scale sculptures, street art, and graphic and product design. Over the last two decades KAWS has built a successful career with work that consistently shows his formal agility as an artist, as well as his underlying wit, irreverence, and affection for our times. He often draws inspiration and appropriates from pop culture animations to form a unique artistic vocabulary for his works across various mediums.

Now admired for his larger-than-life sculptures and hardedge paintings that emphasize line and color, KAWS’ cast of hybrid cartoon and human characters are perhaps the strongest examples of his exploration of humanity. His refined graphic language revitalizes figuration with big, bold gestures and keen, playful intricacy. As seen in his collaborations with global brands, KAWS’ imagery possesses a sophisticated humor and reveals a thoughtful interplay with consumer products. Highly sought-after by collectors inside and outside of the art world, KAWS’ artworks, with their broad appeal, establishes him as one of the most prominent artists in today’s culture.

KAWS (b. 1974, Jersey City, New Jersey; lives and works in Brooklyn, New York) has exhibited internationally in major museums. His recent solo exhibitions include KAWS: WHERE THE END STARTS, Modern Art Museum of Fort Worth, Texas (2016) which traveled to the Yuz Museum, Shanghai (2017); KAWS, Yorkshire Sculpture Park and Longside Gallery, West Yorkshire, United Kingdom (2016). His work has also been the subject of solo exhibitions at the Contemporary Art Museum St. Louis, Missouri (2017); Brooklyn Museum, New York (2015); Centro de Arte Contemporáneo, Málaga, Spain (2014); Nerman Museum of Contemporary Art, Overland Park, Kansas (2013); Pennsylvania Academy of Fine Arts, Philadelphia (2013); and the High Art Museum, Atlanta, Georgia (2011).

His monumental sculptures have been shown in prestigious locations including the Rijksmuseum, Amsterdam, the Yorkshire Sculpture Park, United Kingdom and the Brooklyn Museum, New York.

KAWS Is Bringing a Giant Floating Figure to Seoul’s Seokchon… https://hypebeast.com/2018/6/kaws-holiday-seokchon-lake-seoul-korea

COPYRIGHT @ by KAWS

Originally published on https://www.perrotin.com/artists/Kaws/55/view-of-the-exhibition-where-the-end-starts-curated-by-andrea-karnes-at-modern-art-museum-of-fort-worth-fort-worth-usa-2016/10000012698

#art #installation #kaws #exhibition #animals #artcollecting #artcollector #artcurator #artadvisor #collection #artcollection #artmuseum #artgallery #contrmporaryart #contemporary #modernart #design #artlovers #inspiration #artcollecting #artsignificator #melnikblog #ArtForYou

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WHAT TO COLLECT #122. JOAN JONAS

Born in 1936 in New York, Joan Jonas is a pioneer of performance and video art, and a titan of the American avant-garde.

She is known for blending performance and film in exciting and challenging ways. She rose to artistic fame in the late 1960s for her compelling Mirror Pieces, which featured performers carrying mirrors on stage and slowly, deliberately rotating them, transforming the audience into an image on glass.

Please, watch YouTube movie:

https://youtu.be/rzp6Ehnxq34

#art #installation #exhibition #animals #artcollecting #artcollector #artcurator #artadvisor #collection #artcollection #artmuseum #artgallery #contrmporaryart #contemporary #modernart #design #artlovers #inspiration #artcollecting #artsignificator #melnikblog

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WHAT TO COLLECT # 121. ANDY WARHOL

Andy Warhol

American, 1928–1987

Inspired by the portraits that Man Ray photographed of Marcel Duchamp’s alter ego, Rrose Sélavy, Andy Warhol created a series of drag self-portraits. Always questioning the conventions of constructed identity, Warhol donned a wig and bold makeup, subverting traditional gender expectations and paying homage to the artists before him.

Self-Portrait in Drag, 1981

Gelatin silver print

Image: 3.5 x 2.25 in. (8.89 x 5.72 cm.)

Sheet: 4.25 x 3.4 in. (10.8 x 8.64 cm.)

American Pop Art icon Andy Warhol (1928–1987) was known for taking photographic portraits of his many friends in and outside of the art world. The photographic medium was critical to Warhol’s artistic production, and he brought his camera with him wherever he went. His photographic oeuvre reads like today’s ubiquitous social media photo streams and provides a fascinating look into the life of an enigmatic figure whose influence on the art world, and society as a whole, is unparalleled. Playing with the notions of identity, perception, and one’s public versus private self, Warhol also took many poignant self-portraits, often in drag, as seen here.

Originally it was published on

https://www.artnet.com/auctions/artists/andy-warhol/self-portrait-in-drag-8

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Why art exhibitions are returning to domestic settings

A show in the new Kettle’s Yard space highlights why the traditional gallery aesthetic is falling out of favour

Jul 12th 2018

by A.C. CAMBRIDGE

In dining room at Kettle’s Yard, a lemon sits on a pewter dish. Replaced every week, it directs viewers’ eyes to the adjacent wall, where the yellow spot in a painting by Joan Miró gleams a little brighter. Illuminated by an everyday object, “Tic Tic” is one of the many artworks in Kettle’s Yard which proves that intimate and domestic spaces are the best places to appreciate art.

The Cambridge home of the late Jim Ede—a former curator at the Tate—and his wife Helen, Kettle’s Yard is filled with work by the likes of Ben Nicholson and Barbara Hepworth, Naum Gabo and Henry Moore, Constantin Brancusi and Elisabeth Vellacott. When the Edes donated their home and its collection to Cambridge University, their caveat was that it be left without labels or plaques; visitors view artworks as equals to the domestic collage of furniture, flowers and ornamental objects. The relationship between viewer and subject is solely personal: where one person is drawn to a glass sculpture by Gregorio Vardanega, another is pulled to the sprawling pot plants reflected inside it.

In the newly opened extension to the house, an exhibition of work by Antony Gormley (pictured, below) also seeks to emphasise the importance of perception. Normally installed in outdoor spaces, Mr Gormley’s recognisable rust-red figures explore the relationship between art, architecture and the earth. The show at Kettle’s Yard claims that “the ‘subject’ of this exhibition is as much our own bodies, their relationship to the sculptures in the galleries and to the architecture of the spaces, as the works themselves.” Above head height, Mr Gormley has struck two steel bars through the gallery’s main space. Casting vertical shadows down the walls, from certain perspectives the shadows conjure up an illusion of glass walls. Viewers walk uneasily around the gallery, not only looking at Mr Gormley’s sculptures but also interacting with the setting itself.

But while Mr Gormley’s wider oeuvre and the placement of his work in natural settings fits with the Edes’ vision, this new exhibition does not quite work. With their concrete floors and plain white walls, the new galleries at Kettle’s Yard contradict the Edes’ desire that the site be “a living place where works of art could be enjoyed…unhampered by the greater austerity of the museum or public art gallery”. Compared with an enormous bronze figure of Mr Gormley’s which stands on the riverbank at nearby Trinity College, or the hundreds of iron men placed on Liverpool’s coastline, in the new galleries his sculptures feel flat and uninspiring. Mr Gormley’s attempt to subvert the space with steel bars and shadows only highlights its shortcomings.

Indeed, the decision to open another “white cube” is not only misguided, but well behind the times. Art in isolation is fast falling out of fashion, which may well be a testament to the attraction of Kettle’s Yard itself. Led by Chatsworth House, Britain’s historic attractions have made a virtue of the combined experience of subject and setting; Damien Hirst’s spot paintings recently brightened up the panelled walls of Houghton Hall, while Jenny Holzer projected text onto the stonework of Blenheim Palace. Opera and contemporary art might once have seemed unlikely bedfellows, but the recent “White Cube at Glyndebourne” partnership was accepted without question. These relationships aren’t just marketing ploys to double the attractions’ potential audiences. In the stately setting of Houghton Hall, “Charity”, Mr Hirst’s 22-foot-tall sculpture of a disabled girl with a broken collection box, becomes particularly poignant.

The trend isn’t limited to old venues and new art: contemporary artists, galleries and audiences are increasingly breaking away from the plain wall, too. In 2014 Hauser and Wirth opened a new space on a farm in Somerset, currently host to the sculptures of Alexander Calder. Dynamic galleries such as Cecelia Brunson Projects and Eleven Spitalfields, both in London, are not just former houses, but current homes.

This return to the domestic setting is fitting, given that the art gallery was born in the home. Joaquín Sorolla’s house in Madrid and Sir John Soane’s house cum museum in London (pictured, top) both retain this dualism, a legacy of the Renaissance period, to great effect. Hans Ulrich Obrist, the director of the Serpentine Gallery, says that a show he held in the 1980s in his own kitchen still informs his work today. It did so particularly in an exhibition he curated in 1999 in the Soane’s museum, where “there were no didactic panels or sound guides, and visitors moved where they wished through the rooms, encountering unexpected works of art in unexpected places.”

As Mr Obrist observes, there is an appealing accessibility in these intimate, lived-in spaces. A spartan room and a security guard can make viewers feel like they’re also on display: trying to engage with the art is like trying to have an intimate conversation in a starkly lit restaurant while an overbearing waiter hovers by your shoulder. Removed from the sacrosanct gallery, art creates a more lasting impression: viewed alongside other objects and in familiar frameworks, artworks are not left behind at the gallery’s door, but carried imaginatively into our everyday lives. Later, when life hands out lemons, the viewer might recall a Miró.

This article is published on https://www.economist.com/prospero/2018/07/12/why-art-exhibitions-are-returning-to-domestic-settings

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Christie’s Elliot Safra speaks on the Artelligence Podcast ahead of next week’s Art + Tech Summit.

Christie’s Elliot Safra speaks on the Artelligence Podcast ahead of next week’s Art + Tech Summit.

soundcloud.com/artelligence/christies-art-tech-conference

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ART OBSERVATION. PHOTO BASEL & SCOOP. BASEL. 2018

Today I am observing around the Photo Basel and SCOPE in Basel:)!

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#ARTBASEL2018 #Basel #photobasel #scope ♥️ #artcollecting #artdealer #artcollectors #art #artist #artbasel #artsignificator #contemporaryart #Contemporary #artfair #artcurator #artsy #artadvisor #mashamelnik #melnikblog #арт #современныйарт #искусство #современноеискусство #арткуратор #машамельник #мельникмаша #коллекционер #галлерея #музей #оценкаарта #артблог #блоггер #артбазель #photo credit Masha Melnik

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ART OBSERVATION. SWITZERLAND ART AWARD.

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ARTBASEL2018 #Basel ♥️ #artcollecting #artdealer #artcollectors #art #artist #artbasel #artsignificator #contemporaryart #Contemporary #artfair #artcurator #artsy #artadvisor #mashamelnik #melnikblog #арт #современныйарт #искусство #современноеискусство #арткуратор #машамельник #мельникмаша #коллекционер #галлерея #музей #оценкаарта #артблог #блоггер #артбазель #photo credit Masha Melnik

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ART OBSERVATION. ART BASEL 2018

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#ARTBASEL2018 #Basel ♥️ #artcollecting #artdealer #artcollectors #art #artist #artbasel #artsignificator #contemporaryart #Contemporary #artfair #artcurator #artsy #artadvisor #mashamelnik #melnikblog #арт #современныйарт #искусство #современноеискусство #арткуратор #машамельник #мельникмаша #коллекционер #галлерея #музей #оценкаарта #артблог #блоггер #артбазель #photo credit Masha Melnik

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Visit to Basel 2018

Art, it is a good way to entertain when you have dinner with friends in your house – just like talking about expensive wine or travels you now can talk about your existing art experience. Art is always about stature.

With Art Significator You will be proud of your art collection.

Masha Melnik

From Art Basel, Switzerland

2018

Photo credit by Masha Melnik

***All rights to the artwork or any material remain with the author and can be removed from the website on request at any time. Please, contact us by email

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WHAT TO COLLECT #115. ALMAGUL MENLIBAYEVA

Born 1969 in Almaty, Kazakhstan. She lives and works in Berlin and Almaty.

Artist Statement

“My educational background is in the Soviet Russian, avant-garde school of Futurism, which I combine with the nomadic aesthetic of post-Soviet, contemporary Kazakhstan that I have been exploring in recent years through photographic and video work.

I use specific modes of expression in modern and contemporary art as a vehicle to investigate my personal archaic atavism as a certain mystical anthropomorphism. In other words, I explore the nature of a specific Egregore, a shared cultural psychic experience, which manifests itself as a specific form of thought among the people(s) of the ancient, arid and dusty Steppes between the Caspian Sea, Baikonur and Altai in today’s Kazakhstan.

In the Russian language, Archaic Atavism is personalised as a being — which points to and creates a different meaning. We are not just speaking about an idea or archaic element in the collective subconscious of a people, but about the embodiment of our archaic atavism, which becomes an active entity, just like a creature itself. Our archaic atavism is not just internalised, but also externalised. It is as if It, like a being, has been awakened by the post-Soviet experience of the indigenous Kazakh people, who are becoming their own after 80 years of Soviet domination and cultural genocide. Suddenly, It (Archaic Atavism) became interested in enculturation and in modern behaviours. It also began to have entertaining dialogues with the trans-national circulation of ideas in contemporary art.

For this dialogue, I have chosen the medium of video and photography, and like to work with the notion of memory and reality. My archaic atavism is interested in my video explorations in the Steppes and in post-Soviet Asia. By editing raw data and combining documentary and staged footage, I become Its voice, enabling a cultural exodus from long oblivion. My work raises metaphysical questions such as Who am I? and Where shall I go?; this (psychic) experience and perspective marks my artistic language.”

Almagul Menlibayeva’s recent notable exhibitions include a solo show at the Grand Palais in Paris (2016) and group shows Elective Affinities at the NCCA in Moscow (2015), BALAGAN!!! in Berlin (2015), Moscow Biennale (2015, 2011), The Union of Fire and Water at the 56th Venice Biennale (2015), 18th Sydney Biennale (2012), 1st Kyiv Biennale (2012), 10th Sharjah Biennale (2011) and Unconditional Love at the 53rd Venice Biennale (2009).

Please, find more information about Artist here

Watch “LOUIS VUITTON – ALMAGUL MENLIBAYEVA” on Vimeo: https://vimeo.com/52163759?ref=em-share

Copyright by ALMAGUL MENLIBAYEVA

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6 Rules for the Entrepreneurial Collector by Sylvain Levy.

Building art collections has always been a diverse and a personal adventure. Today we can add a new profile to the different types of collectors: the entrepreneurial collector.

Original article: 6 Rules for the Entrepreneurial Collector https://blog.vastari.com/the-entrepreneurial-collector-sylvain-levy-dsl/

All the fields of our society are impacted by individuals who has invested in changing history, not just making money. Elon Musk, Bill Gates, Steve Jobs and Jeff Bezos are among these entrepreneurs focused on change.

How can art collectors be inspired by Elon Musk’s disruptive thinking? Below, I’ll share 6 points that should always be considered by the entrepreneurial collector.

1. A collection needs a vision

Any entrepreneur wishing to make it big must first put everything into their vision. They must believe in the project before anyone else does. They must love the brand before anyone else starts to. In the words of Nobel Laurate Dennis Gabor, “The future cannot be predicted, but futures can be invented.”

As for us [at DSL], our vision is to build a timely and timeless collection with a very strong cultural identity. We can only achieve this goal by being clear, authentic and giving a soul to a collection

2. A collection must always be on the move, aiming for the stars with feet on the ground

In a six-year period, Elon Musk accomplished what can be considered a titanic entrepreneurial crusade. He founded SpaceX in 2002 and Tesla Motors in 2003, both companies achieving their first major victories in 2008.

As for a collection it should always greatly challenge its time by the choice of collected works but also by how those works want to impact the audience and the collector..

Dslcollection is constantly surfing on the wave of Chinese contemporary art and the wave of technology. We were among the first ones, to be be present on internet since 2005, to have 2D and 3D museums, a second life museum in 2012 and today a virtual museum.

3. Don’t let failure defeat you

Musk does have several failed attempts to his name. Not every idea that he’s pursued has been an instant success. The first three launches at SpaceX were failures, and the Tesla Roadster took three years to become commercially viable even after the engineering was already foolproof.

It means for a collector to risk failure by constantly challenging the status quo or collecting works out of their comfort zone.

Unfortunately more and more collectors, because of basing their collections on investment criteria, prefer to play it safe

By focussing on China, we [DSL] have deliberately positioned ourselves out of our comfort zone

4. Craziness is an important part of an entrepreneurial culture

Yes, Elon Musk’s ideas are crazy. But so were Steve Jobs’s ideas, Bill Gates’s ideas, Benjamin Franklin’s ideas.

As for us, we built a collection in 2005 which only focussed on Chinese contemporary art – when we live 12.000km from China, we do not speak Chinese and there was not any institution validation.At the time, many would have considered this to be a crazy idea.

We had to think outside of the box and invent new ways to have access to the works (especially by using WeChat to stay informed!)

5. Criticism and self reflection

Elon solicits criticism and seeks out his critics to converse with them. This shows how important self-reflection can be to help one grow.

A collection should always interact with its audience and the art eco -system surrounding it. Sharing through social networks, and being open to feedback is an inspiring way to make a collection always lively and relevant.

Today Dslcollection has more than 31,000 followers on Linkedin with whom a dialogue is established through daily posts

6. A breakthrough innovation, it is rarely one little thing. It’s usually a whole bunch of things that collectively amount to a huge innovation

A collection should live in the context of the world in which it is built. To be innovative is not just about collecting emerging artists. It is also about harmoniously bridging humanities, art and science. That is the sense of the dslcollection project we have built the past 13 years.

Conclusion

Musk’s passionate obsession is an inspiration for anyone wanting to achieve something extraordinary. His focus, discipline and style are powerful antidotes against the mediocrity and complacency that creep up after routine settles in.

If you have a vision to transform a whole industry,if you are one of those who doesn’t like to play it safe, then there is a lot you can learn from Elon Musk, even as an art collector or art industry professional.

***All rights to the artwork or any material remain with the author and can be removed from the website on request at any time. Please, contact us by email

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WHAT TO COLLECT # 113. NAUM GABO

Naum Gabo, original name Naum Neemia Pevsner (born August 5, 1890, Bryansk, Russia—died August 23, 1977, Waterbury, Connecticut, U.S.), pioneering Constructivist sculptor who used materials such as glass, plastic, and metal and created a sense of spatial movement in his work.

Gabo studied medicine and natural science, then philosophy and art history, at the University of Munich in Germany; he also took engineering classes at the Technical University in Munich. In 1913 he walked from Munich to Florence and Venice, viewing many works of art and architecture along the way. Early in his life he changed his name to Gabo in order to distinguish himself from his brother Antoine Pevsner, a painter.

While visiting Pevsner in Paris in 1913–14, Gabo met the artist Alexander Archipenko and others involved with the avant-garde. During World War I he lived with Pevsner in Oslo, Norway. There, Gabo produced his first Cubist-influenced figurative sculptures, exemplified by Constructed Head No. 2 (1916), which he executed in celluloid and metal. The brothers also began to experiment along the Constructivist lines laid down by their fellow Russian Vladimir Tatlin. Constructivist sculpture as practiced by Tatlin had definite political implications, but Gabo was more interested in its use of modern technology and industrial materials.

Returning to Russia after the Revolution, Gabo and Pevsner saw political forces redirect Russian art from exploration to propaganda. In 1920 the two brothers issued the Realistic Manifesto of Constructivism, which they posted and distributed in the streets of Moscow. In it they asserted that art had a value and function independent of the state, and that geometric principles should be the basis for sculpture. They advocated the use of transparent materials to define volumes of empty space instead of solid mass. In 1920 Gabo produced Kinetic Composition, a motor-driven sculpture that demonstrated his principles by incorporating elements of space and time.

Gabo left Russia in 1922 and lived for 10 years in Berlin, where he worked with László Moholy-Nagy and other artists of the Bauhaus. During the 1920s Gabo continued to create monumental constructions out of glass, metal, and plastic. In 1932 he went to Paris, where he joined the Abstraction-Création group, an association of artists that advocated pure abstraction. He lived in England from 1936 to 1946, promoting Constructivism there by editing the collective manifesto Circle in 1937 with the abstract painter Ben Nicholson. Curves replaced angles in Gabo’s new spatial constructions made of taut wire and plastic thread. He moved to the United States in 1946, and in 1953–54 he taught at the Harvard Graduate School of Architecture. During the 1950s Gabo received several commissions for public sculptures, only some of which he completed, such as the large commemorative monument for the Bijenkorf department store (1954, unveiled in 1957) in Rotterdam, Netherlands.

From Encyclopædia Britannica

http://www.all-art.org/Architecture/24-2.htm

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WHAT TO COLLECT # 112. Lisa Kellner

Lisa Kellner has created and installed room-sized installations and two-dimensional works throughout the United States since 2006. Her work has been exhibited at the Bellevue Arts Museum (WA), the Lower Manhattan Cultural Council (NY), the Brooklyn Arts Council (NY) and the Weatherspoon Museum (NC), among others.  Also, Lisa has worked with galleries including Ascent Contemporary (NY), Project 4 (DC), BravinLee Projects (NY) and JoAnne Artman (LA).  Lisa’s work has been reviewed in The New York Times, The Boston Globe and Sculpture Magazine among others.  Lisa created site-responsive installations at the Cornell Fine Arts Museum (FL), the Center for Maine Contemporary Art (ME), Lehman College Art Gallery (NY) and the Target Gallery at the Torpedo Factory (VA).  In 2016, Lisa was awarded the New Media Invitational from the Target Gallery.  She was also a Joan Mitchell semi-finalist.  Her work is currently included in the exhibition, Materiality:  The Matter of Matter at the Center for Maine Contemporary Art.

Please, find more information on https://www.lisakellner.com/

Copyright © Lisa M Kellner

12861292129413081318frontImage

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WHAT TO COLLECT # 111. Marina De Caro

Born in 1961 in Buenos Aires, Argentina

Lives and works in Buenos Aires, Argentina

Body, behavior and space; intuition, sensitivity, and perception; experience and knowledge: these are the keywords of Marina De Caro’s work. De Caro develops her poetics from the field of drawing towards the realms of sculpture and performance. Her spatial and action-based works often incorporate soft wearable sculptures especially designed to invite the viewer/performer to experience an unpredictable regard on the every day, on bodily and social behavior and norms. In her drawings and experiences, De Caro disrupts the given, abruptly. A most refined and irreverent master in the use of color, her works also unfold as delicately poetic spatial entities that usually envelop the viewer in a particular novel ambiance and experience.

Copyright @ Marina de Caro

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WHAT TO COLLECT # 108. Donald Judd

One of the most significant artists of the twentieth century, the radical ideas, and work of Donald Judd continue to provoke and influence the fields of art, architecture, and design.Slide01

Born Donald Clarence Judd on June 3, 1928, in Excelsior Springs, Missouri, he served in the United States Army from June 1946 until November 1947. Before he transitioned to work in three dimensions, Judd began as a painter and an art critic, having studied philosophy and art history at Columbia University and painting at the Art Students League. He developed his idea of the permanent installation of his work and collections first in New York, at 101 Spring Street, and later in Marfa, Texas. Throughout his lifetime Judd advocated for the importance of art and artistic expression; he regarded land preservation, empirical knowledge, and engaged citizenship as fundamental aspects of society and he wrote extensively on these and other subjects.

donaldjudd_sculpture
Donald Judd, 15 Untitled Works in Concrete (Chinati Foundation, Marfa, Texas)

In 1968, Judd purchased his first building, 101 Spring Street, a five-story cast-iron building in New York. At Spring Street, Judd first began the permanent installation of his work as well as works of his contemporaries, a process he would continue throughout his life in both New York and Texas. Judd began to purchase properties in Marfa in 1973 where he would continue permanently installing his work and the work of others until his death in 1994. These spaces, including studios, living quarters, and ranches, reflect the diversity of his life’s work. Judd established the ideas of Judd Foundation in 1977, founded to preserve his art, spaces, libraries, and archives as a standard for the defense of his work. He founded The Chinati Foundation/La Fundación Chinati in 1986 specifically for the permanent installation of large-scale works by himself and his contemporaries.

For almost four decades, Judd exhibited throughout the United States, Europe, and Asia with his work in museum collections worldwide. Major exhibitions of his work include the Whitney Museum of American Art, New York (1968, 1988); the National Gallery of Canada, Ottawa (1975); Stedelijk Van Abbemuseum, Eindhoven (1970); and Tate Modern, London (2004). A major retrospective of Judd’s work is forthcoming at The Museum of Modern Art, New York.

https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/92490262&color=000000“>The Modern Art Notes Podcast: Conversation with CURATOR Marianne Stockenbrand. DONALD JUDD

https://juddfoundation.org/artist/biography/
Copyright © Judd Foundation

donald-judd-1991-c-b-mancia-f-bodmer-makUntitled Bernstein 88-17Installs_10Donald Judd, untitled, 1960. Oil on canvas. Donald Judd Art © Juddd93779d8

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