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Donald Judd is one of the most influential artists of the 20th century, known for his use of space, color and his belief in the importance of permanent art installations. This is reflected in his establishment of spaces at 101 Spring Street in Soho and in Marfa, Texas. Beyond his painting and works in three dimensions, Judd was also a prolific art critic and writer, a furniture designer, and an early advocate for now-iconic artists like Yayoi Kusama.
      Today, Judd’s legacy is preserved in large part by the Judd Foundatio n, which maintains his living and working spaces in New York and Marfa, develops scholarly and educational programs, and publishes catalogues of his artistic works and criticism. Flavin Judd, who serves as artistic director of the foundation, shared with Jayaram how the organization works to promote Judd’s artistic legacy, while finding fresh perspectives on his groundbreaking body of work.

JL
For any of our readers who might not be familiar with the Judd Foundation, could you give a brief overview of the organization and its mission?

FJ
Judd Foundation exists to preserve the buildings and works created by Don Judd who thought the destruction of people, culture, and nature was a crime1.

JL
In a world that’s full of digital ephemera, can you talk about the importance the Foundation places on physical space and permanent installations — as exemplified in your spaces at 101 Spring Street and in Marfa?

FJ
We ask that you keep your phones in your pockets as they are a hindrance to the experience. The buildings and art are about the feeling of space and to experience that you need to be there with your brain. You need to pay attention to art and space to understand it or experience it. Bringing your phone to a museum or a concert or anything like that is like trying to eat the dinner on your screen. Don’t do it.

JL
What considerations (artistic, historical, ecological) go into renovation and preservation projects at this scale?

FJ
The renovations of the buildings are considered inch by inch to be invisible, as can be seen, or not, at 101 Spring Street. We don’t want our air conditioning to be an object of desire.

JL
Over the years, the Foundation has published several collections featuring Donald Judd’s essays, as well as “Donald Judd Spaces,” which spotlights his living and working spaces. Another collection is “Donald Judd Furniture.” Can you tell us more about the collection and the balance between design and function that characterize Judd’s furniture designs?

FJ
When we moved to Marfa in the early seventies Don quickly realized there was very little to no furniture to be had. He had to first make and then design his own. Furniture you look at every day should not look like it came from a plastic Napoleon house.

JL
Judd advocated for a “cultural context where artists were prioritized above that of institutions.” How does the Foundation support this ethos through its work?

FJ
It’s simple, we prioritize the art. Everything else is secondary.

JL
This year, Judd’s work is being exhibited from New York to Milan to Seoul, including works presented in new configurations. In addition to preserving Judd’s legacy, how do you continue to innovate and exhibit his work in fresh ways?

FJ
We don’t really worry about that. We work and think on long timelines but we do want every exhibition to look as good as possible and we work hard to make it so. Whether it’s fresh or not is up to others.

JL
Looking ahead to the next year, are there initiatives or exhibitions that you’re especially excited about?

FJ
I can’t tell you that.

 

1 Reference to Donald Judd, “Una stanza per Panza” (1990). First published (in four parts): Kunst Intern, nos. 3, 4, 5, 6, 1990 (in German, with an English supplement).

A Photo © Martien Mulder. Courtesy of Judd Foundation.

B Image Credit: Elizabeth Felicella. Courtesy Judd Foundation.
Donald Judd Art © Judd Foundation

 

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