Donald Judd: Quotes about art

“The art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness and scale as a chair.”

Donald Judd

Source: 1990s, "It’s Hard to Find a Good Lamp," 1993, p. 7; Quoted in: " Furniture http://www.juddfoundation.org/furniture/judd-furniture" at juddfoundation.org, 2014
Context: The art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness and scale as a chair. These are proportion, which is visible reasonableness. The art in art is partly the assertion of someone's interest regardless of other considerations. A work of art exists as itself; a chair exists as a chair itself. And the idea of a chair isn't a chair.

Art

“Most art is fragile and some should be placed and never moved again.”

Donald Judd

Donald Judd (1987) Complete writings, 1975-1986. p. 111
1980
Context: It takes a great deal of time and thought to install work carefully. This should not always be thrown away. Most art is fragile and some should be placed and never moved again. Some work is too large, complex and expensive to move. Somewhere a portion of contemporary art has to exist as an example of what the art and its context were meant to be.

Art

“Any combining, mixing, adding, diluting, exploiting, vulgarizing, or popularizing of abstract art deprives art of its essence and depraves the artist's artistic consciousness. Art is free, but it is not a free-for-all.”

Donald Judd

Donald Judd, in: American Dialog, Vol. 1-5, (1964), p. ix
1960s
Context: Any combining, mixing, adding, diluting, exploiting, vulgarizing, or popularizing of abstract art deprives art of its essence and depraves the artist's artistic consciousness. Art is free, but it is not a free-for-all. The one struggle in art is the struggle of artists against artists, of artist against artist, of the artist-as-artist within and against the artist-as- man, -animal, or -vegetable. Artists who claim their artwork comes from nature, life, reality, earth or heaven, as 'mirrors of the soul' or 'reflections of conditions' or 'instruments of the universe', who cook up 'new images of man' - figures and 'nature-in-abstraction' - pictures, are subjectively and objectively, rascals or rustics.

Art

“I think most of the art now is involved with a denial of any kind of absolute morality, or general morality.”

Donald Judd

1960s, "Oral history interview with Donald Judd," 1965
Context: I think most of the art now is involved with a denial of any kind of absolute morality, or general morality. I think most of us in one way or another are involved in ideas of a fairly loose world, however it's expressed, whether obviously as in Chamberlain or just accidentally, or, oh, like Newman.

Art , Thinking

“The better artists are original and obdurate; they're the gravel in the pea soup. ln Jackson Pollock's painting the particularity, the immediacy, is the dripped paint, which remains dripped paint as a phenomenon, for all the beauty of the small shapes it makes it makes. The generality is in the scale or proportion and in the large shapes. It’s in the appearance of chaos. The gesture or the motion shown in the application of the paint varies from painting to painting from the particular to a middling generality. The size and the color generally occur in the middle between particularity and generality. At the same time as Pollock and since, almost all first-rate art has been based on an immediate phenomenon, for example the work of Dan Flavin and Larry Bell.”

Donald Judd

Donald Judd (1987) Complete writings, 1975-1986. p. 35 : Cited in: Marjanovic, Marianne Berger. "To build new ways of talking about the work": Hovedbegreper i Donald Judds kunstteori." (2005).
1980

Beauty , Art , Color , Appearance

“Material, space, and color are the main aspects of visual art. Everyone knows that there is material that can be picked up and sold, but no one sees space and color. Two of the main aspects of art are invisible; the basic nature of art is invisible.”

Donald Judd

1990s
Source: Artforum International. Vol. 32 (1994), p. 38

Art , Color , Nature

“Four years ago almost all of the applauded and selling art was New York School painting. It was preponderant in most galleries, which were uninclined to show anything new. The publications which praised it praised it indiscriminately and were uninterested in new developments. Much of the painting was by the "second generation" many of them epigones. Pollock was dead. Kline and Brooks had painted their last good paintings in 1956 and 1957. Guston's paintings had become soft and gray — his best ones are those around 1954 and 1955. Motherwell's and De Kooning's paintings were somewhat vague. None of these artists were criticized. In 1959 Newman's work was all right, and Rothko's was even better than before. Presumably, though none were shown in New York, Clyfford Still's paintings were all right. This lackadaisical situation was thought perfect. The lesser lights and some of their admirers were incongruously dogmatic : this painting was not only doing well but was the only art for the time. They thought it was a style. By now, it is.”

Donald Judd

Donald Judd, in: Arts Yearbook. (1964) p. 23
1960s

School , Art , Light , Time

“In any art there are a lot of technical things that you can get to like. Building is just skilled labor, I suppose. It's a lot of work. I don't mind other people building them, but the way things go together and are made is interesting to me; I like that a lot. I pay a lot of attention to how things are done and the whole activity of building something is interesting.”

Donald Judd

1960s, "Oral history interview with Donald Judd," 1965

People , Art , Way

“The main qualifications to the lesser position of painting is that advances in art are certainly not always formal ones.”

Donald Judd

Donald Judd (1963), quoted in: Joseph Kosuth, (1969), " Art after Philosophy http://www.ubu.com/papers/kosuth_philosophy.html"
1960s

Art , Painting

“Art is simultaneously particular and general. This is a real dichotomy. The great thing about proportion, one aspect of art, is that it is both extremes at once. The level of quality of a work can usually be established by the extent of the polarity between its generality and particularity. Or, to state the idea a little too simply, the better the work, the more diverse its aspects. The nature of the general aspects and the particular ones changes from artist to artist and especially from time to time, since the changes are due to broad changes in philosophy. This change is the essential change in art, determining its purpose and appearance”

Donald Judd

Source: 1980, "Art and Architecture," 1987, p. 177

Art , Idea , Nature , Appearance

“Obviously everyone is going to prefer kinds of art. I prefer art that isn't associated with anything and am tired of the various kinds of dada, and don't think, for example, that the work of Johns and Rauschenberg is so momentous. But it's good and I'm not at all inclined to rank them below every last abstract artist. And I know that their work has connections to so-called abstract work. (I don't like the word 'abstract'.) Or, I think American art is far better than that anywhere else but I don't think that situation is desirable. ** Donald Judd, in: Studio International, vol. 177, p. 182: As quoted in: James Meyer (2000) Minimalism. Vol 60 - 83, p. 245”

Donald Judd

1960s

Art , Quotes , Thinking

“To begin again at the beginning in a proper philosophical manner, one person is a unity, and somehow, after the long complex process, a work of art is a similar unity. But the person is fairly unintelligible and the art is intelligible. Primarily what is intelligible is the nature of the artist, either of the past or now. The interests, thought and quality of the artist make the final total quality of the work.”

Donald Judd

Donald Judd (1983) in: Donald Judd (1987) Complete writings, 1975-1986. p. 28 ; Quoted in: " Archives http://www.juddfoundation.org/archives" at juddfoundation.org, 2014
1980

Art , Intelligence , Nature , Past

“Society is basically not interested in art. Art has a purpose of its own.”

Donald Judd

Chinati: Judd’s Concretes Re-open http://adobeairstream.com/art/chinati-judds-concretes-re-open, AdobeAirstream.com, 9 October 2009
Attributed from posthumous publications

Art

“ARTS is a somewhat conservative magazine but it is not uniformly, simply or blindly conservative, and the several conservative writers vary. And I am certainly not a conservative and neither is Miss Harrison. I decidedly disagree with the basic positions of Mr. Kramer, Miss Raynor and Mr. Tillim, though not with some of their evaluations, both of conservative and nonconservative artists. I think Ben Johnson's paintings, for example, are relatively uninteresting and powerless and that the work of some of the dop artists is full of true emotion. uninteresting and powerless and that the work of some of the dop artists is full of true emotion. The conservatism of Mr. Kramer and Mr. Mellow as successive editors lies only in the publication of more articles on conservative artists than on unconservative ones. Neither editors ever suggested to me that the magazine should have a uniform position or attempt to control my reviews, which are often contrary to Mr. Kramer’s opinions.”

Donald Judd

1960s
Source: Arts Magazine, Vol. 38, (1963) p. 7

Art , Thinking , Success , Painting

“The main virtue of geometric shapes is that they aren't organic, as all art otherwise is. A form that's neither geometric or organic would be a great discovery.”

Donald Judd

Donald Judd (1967), quoted in: Alexander Alberro, ‎Blake Stimson (1999) Conceptual Art: A Critical Anthology. p. 204
1960s

Art

“I'm not arguing, incidentally, for a confusion of art and architecture, a fashion now, but for a coherent relationship. Therefore, within the capacity of one person or of a small group, the relationship of all visible things should be considered.”

Donald Judd

Source: 1980, "Art and Architecture," 1987, p. 196

Art , Fashion , Personality

“The history of art and art’s condition at any time are pretty messy. They should stay that way. One can think about them as much as one likes, but they won’t become neater; neatness isn’t even a very good reason for thinking about them. A lot of things just can’t be connected.”

Donald Judd

Donald Judd, "Local History" (1964); Quoted in: Judd (1975, p. 151); and cited in: David Raskin. Donald Judd. New Haven: Yale University Press, 2010.
1960s

Art , Way , History , Thinking