The work of Donald Judd (1928-94), one of the most significant American artists of the postwar period, has come to define Minimalist art, a label to which the artist strongly objected.

Wanting to create works that could assume a direct material and physical presence without recourse to grand philosophical statements, Judd eschewed classical ideals of representational sculpture and created works that relied on clear, definite objects.

Donald Judd: Cor-ten represents the first-ever focused examination of Judd's works in Cor-ten steel, which he began to produce in earnest in 1989 and would continue to elaborate on until his death in 1994. Cor-ten is an alloy that makes steel more resistant to corrosion, and eliminates the need for paint. With its distinctive red-brown patina, Cor-ten afforded Judd a new medium for exploring the relationship between surface and volume, as well as color and form.

Prior to 1989, Judd executed a handful of works in Cor-ten primarily as outdoor commissions or site-specific works. Published on the occasion of the 2015 exhibition at David Zwirner, New York, and designed in close collaboration with Flavin Judd and Judd Foundation, Donald Judd: Cor-ten sheds new light on a body of work that represents the culmination of three decades of Judd's output.

Binding Type: Hardcover
Author: Donald Judd, Donald Judd (Author), Claudia Jolles (Contribution by)
Published: 06/28/2016
Publisher: David Zwirner Books
ISBN: 9781941701195
Pages: 72
Weight: 1.05lbs
Size: 10.70h x 8.60w x 0.40d

About the Author
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.