Press release
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november 04, 2021 - Gagosian Gallery
Gagosian esporrà i dipinti di Donald Judd a New York
I think the origin of my work does lie in painting. My work doesn’t arise from sculpture; it comes out of the paintings of Pollock, Newman, Rothko. —Donald Judd
NEW YORK, November 3, 2021—Gagosian is pleased to present the gallery’s first exhibition of work by #donaldjudd (1928–1994) in New York since announcing its representation of the artist and Judd Foundation in September. The exhibition features fourteen paintings dating from 1959 through 1961.
While Judd’s oeuvre is defined principally though his three-dimensional work—which he conceived in opposition to the essential properties of both conventional painting and sculpture—he began his practice as a painter while also taking graduate courses in art history at Columbia University in New York. In addition, he supported himself as a critic: beginning in 1959, and continuing for the next five years, he wrote prolifically for Art News and Arts Magazine, publishing incisive essays and reviews of #contemporaryart during a momentous era. Judd’s paintings make manifest the understanding of postwar modernism that he articulated in his writing.
The paintings on view are nonrepresentational and reject spatial illusionism. They precede relief works made later in 1961 in which Judd incorporated found objects, while his concern with volumetric space led him to abandon painting altogether by the following year. Featuring biomorphic shapes in blue and purple, as well as fields of white, black, gray, and cadmium red, they reflect an exploratory approach to formal issues of structure, materiality, and color. Their application ranges from dense impasto to thin wash, underpainting emerging at times through the layers of pigment.
Above all, these paintings are dominated by line, which, as Judd wrote of Joseph Stella’s paintings in a 1959 review, “exists independently as a vivifying, electric element.” Judd placed increasing emphasis on line as his painting practice developed from 1959 through 1961, but rather than operating primarily to define shape, the interconnected lines in many of these paintings branch and meander across the canvas.
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