Judd+Specific+Objects

Art in Theory: 1900-2000

• An anthology edited by Charles Harrison and Paul Wood, published by Blackwell in Malden, MA.

Institutions and Objections

• Art as an absolute concept:

  • Emphasizes uniformity, non-irregularity, and reduction to irreducibility.

  • Rejects traditional forms of expression: no lines, shapes, colors, or emotions.

  • Art should not be a commodity; it should transcend business interests.

  • The essence of art is characterized by purity, abstractness, and timelessness.

Donald Judd's 'Specific Objects'

• Judd's transition from painting to three-dimensional works resulted in the concept of 'three-dimensional work' as a new medium distinct from traditional forms.

• Critique of Abstract Expressionism:

  • Proposes that representative art is neither painting nor sculpture but a distinct medium.

  • Identifies as a leading figure of Minimalism, though he resists this label.

  • Notes diversity in new art, which is not constrained to a singular movement or style.

• Key points on three-dimensional work:

  • Does not define a movement; lacks shared principles or rules.

  • Differences among works are greater than similarities.

  • Aims to overcome the limitations of traditional painting and sculpture, exploring more expansive forms.

  • New motivations stem from dissatisfaction with past art forms.

The Nature of Painting

• Criticism of painting's limitations:

  • The rectangular format imposes restrictions on artistic expression.

  • The evolution of painting focused increasingly on the rectangle, obscuring its neutrality.

  • Artists like Pollock and Rothko emphasize the rectangle's role in composition.

• Acknowledges that while painting can convey spatiality, its limitations are evident in its boundary creation.

Contemporary Three-Dimensional Work

• Judd's exposition of the limitations of painting compared to three-dimensional art:

  • Painting often remains bound to its flatness and format.

  • New works seek to exploit real space, offering more avenues for exploration and expression.

• Raises questions about the efficacy of traditional painting and sculpture in modern contexts:

  • Rejects the notion that three-dimensional art must succeed painting or sculpture directly.

  • Observations on recent art suggest a return to the purity of shape and form, emphasizing the qualities of the whole over parts.

Robert Morris's 'Notes on Sculpture 1-3'

• Expands the definition of sculpture to include a broader range of avant-garde practices.

• Morris's focus on spectators' experiences and the materials used emphasizes the connection between manufacturing and artistry.

• Stresses that sculpture's identity has diverged from that of painting, establishing itself on distinct merits.

• Highlights that contemporary sculpture addresses spatial relationships more directly than previous practices.

• Explores the implications of materiality in art, suggesting industrial materials should be integral to modern practice.

Conclusion

• The evolution of art from 1900 to 2000 highlights the ongoing struggle between tradition and innovation, wherein artists like Judd and Morris redefine and challenge existing paradigms of art, signaling a departure from conventional practices towards a more inclusive, exploratory understanding of art's possibilities.