Roy Lichtenstein, Entablature (1975), via Quincy Childs for Art Observed

The Entablatures represent my response to Minimalism and the art of Donald Judd and Kenneth Noland. It’s my way of saying that the Greeks did repeated motifs very early on, and I am showing, in a humorous way, that Minimalism has a long history … It was essentially a way of making a Minimalist painting that has a Classical reference. – Roy Lichtenstein

Sometimes a show strikes a perfect balance between surprise and expectation, even more so when the works selected coincide so effortlessly that the artists seem presented anew. Castelli Gallery’s show, Donald Judd, Roy Lichtenstein, Kenneth Noland: A Dialogue, does exactly that.  Taking inspiration from a quote by Roy Lichtenstein on his Entablature paintings, the show examined each artist’s work at the intersections of the architectural and the purely aesthetic, the functional and the pictorial. (more…)

The New York Times notes the installation of James Rosenquist’s work at Donald Judd’s former SoHo home, and the conversations between pop art and minimalism that has resulted from the show.  “There’s this myth that the two movements were against each other somehow, and it’s complete nonsense,” Judd’s son Flavin says. “Don and James were good artists. And I think that’s the only required commonality.” (more…)

The Judd Foundation and David Zwirner have announced a plan to publish an expansive collection of Donald Judd’s writings and criticism, part of an effort to extend the artist’s intellectual legacy.  “In order to understand Don and his work you have to put things together, you have to look at furniture, architecture, art and everything else all at once,” says the artist’s son Flavin, who alse serves as co-president of the Judd Foundation.  The writings are part of that, and with this book people will finally have access to what Don was thinking as he developed his work and his life – the writings interweave his activities. We are very excited to be getting this out and, plus, we just like books.” (more…)

Donald Judd, Untitled (1979), via Rae Wang for Art Observed

Over the course of his sculpting career, Cor-ten steel remained a consistent source of inspiration for Donald Judd, its variance in texture, hue and responsiveness to light offering the artist a malleable yet solid framework to continue his investigations in spatial interaction, light and time throughout his pieces.   Taking this material fascination as its starting point, David Zwirner is presenting a series of pieces from across the artist’s career, joined together by his use of Cor-ten, and underscoring the metal’s complementary characteristics when applied towards Judd’s aesthetic project. (more…)

Carl Andre in His Time (Installation View), via Art Observed

Taking the minimalist exercises of Carl Andre as its starting point, Mnuchin Gallery has opened an exhibition taking the structural interests and shared visions of the New York school of minimalism during the 1960’s and 70’s as its core focus.  Titled Carl Andre in his Time, the exhibition presents pieces by Donald Judd, Brice Marden, Agnes Martin, Sol LeWitt and more, each locked into conversation with Andre’s work.

John Chamberlain, Honest 508 (1973-74), via Art Observed

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The Museum of Modern Art has announced plans for a major retrospective focused on the work of Donald Judd, set to open in 2017, organized by Chief Curator Ann Temkin.  “Half a century after Judd established himself as a leading figure of his time, his legacy demands to be considered anew,” said Ms. Temkin. “The show will cover the entire arc of Judd’s career, including not only quintessential objects from the 1960s and 1970s, but also works made before he arrived at his iconic formal vocabulary, and selections from the remarkable developments of the 1980s.” (more…)

Donald Judd,  Untitled (DSS 216) (1970), via Daniel Creahan for Art Observed

Currently on view at Mnuchin Gallery’s uptown location is a two-floor exhibition focusing exclusively on the stack sculptures of the late Donald Judd, one of the defining voices of New York minimalism in the 1970’s and beyond.

Donald Judd, Untitled (DSS 154) (1968), via Mnuchin Gallery (more…)

Donald Judd, Untitled (1965), via David Zwirner

The tight, straight lines of Donald Judd run directly through the entirety of his career, from his early painted works on through to the increasingly large sculptural works and stacks of the 1980’s and 90’s.  Moving to purify notions of space, light, color and depth, Judd’s career wove a strikingly influential path through the landscape of post-war and contemporary art.  It is this tradition that David Zwirner in London seeks to explore, pulling together a small but tightly organized collection of works by Judd for a show exploring the range and depth of the artist’s career, from his early sculptural explorations with iron and plexiglass, on through to his more refined “stacks,” and wall-mounted installations. (more…)

101 Spring Street, the New York Residence of artist Donald Judd, opened its schedule today for small public tours, offering visitors a firsthand look at the artist’s distinct views on design, lifestyle, and creativity, through his meticulous and elegantly simple renovation of the former industrial space.  “I’ve never built anything on new land,” Judd once wrote. (more…)

Donald Judd at LACMA (Installation View), courtesy of LACMA

On view alongside LACMA’s permanent modern and contemporary collection is a peripheral gallery highlighting a selection of works by artist Donald Judd. Focusing on several of various mediums, the brief show revisits Judd’s focus on simplified geometric forms and the space created around his simple objects.

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Donald Judd’s five-story residence in downtown New York is nearing its scheduled opening date this June, restored through the efforts of the Judd Foundation.  With the opening date approaching, the Financial Times has published a spotlight on the artist and his practice, noting his challenging take on the art market.  Says his daughter, Rainer Judd: “He was in utter disbelief that you could make money from art. When he began his art practice, he had no concept of it being a moneymaking endeavor. He would try to make as much money as possible to buy Swedish furniture and buy Scotch and make great meals.” (more…)

Last night’s Sotheby’s contemporary art auction in Doha, Qatar closed with the regional record sales total of $15.2 Million, with 9 records set for artists at auction, including the highest price for a living Arabic artist. The top sale of the auction went to Donald Judd’s Untitled (Bernstein 90-01), which sold for $3,525,000 after a long bidding competition.  Lina Lazaar Jameel, Head of Sale and Sotheby’s International Contemporary Art Specialist, said of the auction: “We are thrilled with the results of this evening’s sale, which achieved records for nine artists and set the highest total for a sale of Contemporary Art in the Middle East region. It is extraordinarily gratifying to see the market’s response to the exceptional range of art we sourced for this evening’s carefully curated auction. Interest grew throughout the pre-sale tour of highlights to both Jeddah and Dubai, culminating in tonight’s exciting auction.”  (more…)

The most recent issue of Billboard Magazine features a cover story on French rock band Phoenix, showing the band standing in front of a work by Dan Flavin from the artist’s recent show with Donald Judd at David Zwirner in New York.  The picture was taken during the first exhibition at Zwirner’s new 19th Street location, as the band searched for inspiration for their upcoming tour.  “These pieces have a very short lifetime,” frontman Thomas Mars said, “which makes them even more precious.” (more…)

Beginning in June, artist Donald Judd’s Spring Street home and studio, which he purchased in 1968 and renovated himself, will reopen as a museum, offering visitors a look inside at the artist’s personal collection of works and living space.  The building stands as the only intact, single-use cast-iron building left in the neighborhood, and was renovated under the supervision of The Judd Foundation.  “This has all been toward the goal of having people experience this place as if none of these things we had to do were ever done. And from the beginning it’s been a battle between preserving the art and preserving the building.”  Said Judd’s daughter, Rainer. (more…)

Since opening in 2011, the Crystal Bridges Museum of American Art has faced criticism for its dearth of Post-War Contemporary Art.  In response, the museum has gone on a spree of acquisitions to fill out its collection, including works by Andy Warhol, Donald Judd and Mark Rothko.  “It’s fair to say that we are very actively seeking to shore up the 20th century, including early Modernism,” says museum president, Don Bacigalupi, “though not to the exclusion of other things.”  (more…)

The New York Times Magazine has published a profile on German gallery mogul David Zwirner, documenting his growing chain of galleries worldwide, and the dealer’s modest origins.  The profile comes after Zwirner recently opened his new space in Chelsea with a show of work by Dan Flavin and Donald Judd, and responds to scrutiny over the aggressive monetizaton of the art world.  “I don’t mind everyone knocking the money, complaining about how much money there is — that goes with the territory,” Zwirner says. “But what they don’t understand is that work like this has to have space like this to be shown the right way and you have to have money to be able to provide it.” (more…)

Dan Flavin (Installation View) via David Zwirner

The inaugural show at David Zwirner’s spacious new location on W. 20th Street in Manhattan is a pairing of two of minimalism’s major figures and long-time friends, Donald Judd and Dan Flavin.  Given the size of the new location, with its towering ceilings and ample floor space, the show is sparese in both form and quantity, containing 8 illuminated frameworks by Flavin and 5 welded steel boxes by Judd.

Donald Judd, untitled (1991), via David Zwirner

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Mere weeks after the announcement that Christopher D’Amelio would be joining David Zwirner Gallery, the gallery has  announced that it will be opening a new, five-story location in the Chelsea neighborhood of Manhattan.  The gallery will be christened with a dual show by Dan Flavin and Donald Judd on February 15th, and plans to host major exhibitions that rival the those of much larger art institutions.  “The first show is a marriage between the space and the work,” Zwirner said last week. (more…)

Richard Artschwager, Horizon 2011. All images courtesy David Nolan Gallery

Richard Artschwager’s desert landscapes are the subject of an exhibition at the David Nolan Gallery in New York. Throughout Artschwager’s career, he has been known for his use of non-traditional materials in both sculpture and painting, such as wood, formica and Celotex(a fiberboard used for ceiling panels). He is also recognized for his large grisaille paintings, based on grid structures. These desert landscapes are a clear departure, and emit an emotional sensibility that Artschwager rarely lets us get a glimpse of — only recently has he employed such a vivid exploration of color.

Richard Artschwager Landscape with Pond 2011

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Installation view, Cellblock I, Andrea Rosen Gallery. All photos on site by Erica Simone for Art Observed

The Andrea Rosen Gallery opened Cellblock I at its main space on December 1st, 2012, and simultaneously inaugurated its new, second location–just down the street at 544 West 24th Street–with Cellblock II. Both shows, held together under the theme (and anti-theme) of imprisonment, were curated by the prominent scholar and curator Robert Hobbs.

Robert Motherwell’s Dover Beach III at Cellblock II, Andrea Rosen Gallery

Hobbs is well-known for his work as an art historian and writer. He has been the Rhoda Thalhimer Endowed Chair at Virginia Commonwealth University since 1991, and a visiting professor at Yale University for eight years. He is known as the definitive Robert Smithson scholar, and has contributed seminal writings on many of the artists he selected to show, including Alice Aycock, Beverly Pepper, and Kelley Walker. (more…)

Carte Blanche (Installation View), courtesy Galerie Seguin and Paula Cooper Gallery

Each year, Galerie Patrick Seguin in Paris opens its doors to international galleries of note from the United States, Europe, and the rest of the world.  With no limits or constraints placed upon the guest curators, “Carte Blanche” allows a broad international audience exposure not only to great works from around the world, but also a taste of the various curatorial approaches and personal idioms of each invited gallery.

Bruce Conner – CROSSROADS (1976), courtesy Galerie Seguin and Paula Cooper Gallery

This year, the invitation was extended to Paula Cooper Gallery in New York City, who chose a selection of artists from their early years as the first art gallery in the Soho neighborhood of Manhattan.  First opened in 1968, the gallery has continued to grow with its hometown, now recognized as one of the premier art spaces in the city.

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Lynda Benglis sculptures and Hans Hurting paintings at Cheim & Read’s booth at Frieze Masters. All photos by Caroline Claisse for Art Observed unless otherwise noted

Frieze Masters and Frieze London concluded on October 14th, with both fairs reporting solid sales on the high end. This year, there was a distinct focus on curated booths and curatorial projects and less of an overt feeling of commercialization. Frieze Masters in particular focused on serious connoisseurship and an academic approach, both of which translated into a successful fair for dealers.

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Toby Ziegler‘s The Cripples, image via Art Observed

Back in 2003 in Frieze’s first year, no major international art fair had ever been hosted in London before. Frieze Art Fair, organized by Matthew Slotover and Amanda Sharp, has helped take London from being a city without a focused art scene to its current state at the center of the European art market. Now in its tenth year, Frieze Art Fair in London’s Regent’s Park has seen around 60,000 visitors, with 264 dealers from 35 countries hoping to sell work (valuing an estimated  £230m) created by more than 2,400 artists within 175 of the world’s leading galleries.

An Aaron Young motorcycle burn out work at Massimo de Carlo in Milan, photo via Art Observed

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Beyoncé travels to the remote West Texas art town of Marfa.

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