Donald Judd Spaces – Son of Rand Donald Judd Spaces – Son of Rand
Donald Judd Spaces
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Donald Judd Spaces

Donald Judd Spaces

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This newly expanded edition presents an unprecedented visual survey of Donald Judd’s living and working spaces in New York and Texas. Edited by Rainer Judd and Flavin Judd, it includes newly commissioned and archival photographs presented alongside five essays and drawings for architecture and design by the artist. From 101 Spring Street, a 19th-century cast-iron building in Manhattan, to Ayala de Chinati, an extensive ranch in the mountains of western Texas, this book details the interiors, exteriors, and land surrounding the buildings that comprise Judd’s extant living and working spaces stewarded by Judd Foundation. Each space was thoroughly considered by Judd with resolute attention to function and design. From furniture to utilitarian structures that Judd designed himself, these spaces underscore his deep interest in the preservation of buildings and his deliberate interventions within existing architecture.
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Meet the Maker

Considered one of Denmark’s greatest and most influential architects, Mogens Lassen pioneered Danish Functionalism, taking his cues from Bauhaus sensibilities. His interior designs are a natural continuation of his architectural approach and add energy and atmosphere to everyday living spaces and tasks. From decorative objects to larger furniture designs, his designs delicately balance presence without drawing undue attention, finding their natural place in any space.Donald Judd was an American artist, whose rejection of both traditional painting and sculpture led him to a conception of art built upon the idea of the object as it exists in the environment. Judd's works belong to the Minimalist movement, whose goal was to rid art of the Abstract Expressionists' reliance on the self-referential trace of the painter in order to form pieces that were free from emotion. To accomplish this task, artists such as Judd created works comprising of single or repeated geometric forms produced from industrialized, machine-made materials that eschewed the artist's touch. Judd's geometric and modular creations have often been criticized for a seeming lack of content; it is this simplicity, however, that calls into question the nature of art and that posits Minimalist sculpture as an object of contemplation, one whose literal and insistent presence informs the process of beholding.

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