|Donald Judd by David Raskin|
Installation view of Donald Judd’s “Progressions.” All images by Caroline Claisse for Art Observed.
Currently on view at Galerie Vedovi in Brussels is “Progressions,” a fresh look at the work of seminal American sculptor Donald Judd. The exhibition focuses on Judd’s use of mathematical algorithms to create geometrical progressions. These systems are non-representational tools that offers viewers a neutral way to view the works. With the object autonomous, the focus turns to the wall and its relation to the object.
Judd is also the subject of another concurrent exhibition at David Zwirner Gallery, which opened during New York Gallery Week. It is a restaging of Judd’s 1989 exhibition at the Staatliche Kunsthalle in Baden-Baden, Germany.
More text and images after the jump…
“Progressions” at Galerie Vedovi gives prominence to the artist’s voice, through quotations from Judd’s writings which grace the gallery walls. Equally charming is the pencil drawing for a planned sculpture.
Unlike the consistent-seeming objects he created, human intervention always enter into the equation. His mathematical sequences were arbitrarily chosen, and as this exhibition shows, he grew increasingly interested in color, which in its natureis subjective and personal. Judd once wrote, “After all, the work isn’t the point, the piece is.” The piece molded by the human hand.
Donald Judd (1928 – 1994) has been the subject of major exhibitions at the Whitney Museum of Modern Art, New York; Stedelijk Van Abbemuseum, Eindhoven; Saint Louis Art Museum; Walker Art Center, Minneapolis; Tate Modern, London; and Kunstmuseum, Basel.
– J. Lindblad
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