10/5: Donald Judd

Artistic ingenuity springs from anywhere. Many times it comes from small, relatively unknown places and finds its way toward national art scenes. The wealth of talent living in larger cities gives the impression that they are the ultimate creative centers – as if artists are inherently more talented if they are from New York or LA.

But artistic talent is not geographically determined. Anyone living outside of these cities knows this to be true. In fact, imported talent often revolutionizes these art meccas. In the 1960s and ‘70s, Midwest artist Donald Judd did just that. He played a seminal role in creating and defining the abstract art movement that was later named Minimalism, though he completely rejected that label. Born and raised in Excelsior Springs, Missouri, he studied art history and philosophy at Columbia University. He wrote extensively on art from the perspective of a critic and theorist while forging his own artistic practice.

One of his influential articles, “Specific Objects,” retooled traditional notions of painting and sculpture. He argued that a variety of industrial materials used in Minimalist art, things like Formica and aluminum, were deliberately chosen because they were outside the traditions of the art world at the time.

Judd’s 100 Untitled Works, also known as his 100 Specific Objects, exemplify this notion. His 100 aluminum rectangular volumes are semi-enclosed boxes offering a specific internal construction that differs slightly from the other 99. This gives the impression of mathematical permutations, but it is really more playful and unexpected than one would think. Rhythmically metered throughout their exhibition space, these works are housed in two former artillery sheds in the relatively unknown town of Marfa, Texas. Judd’s work has made this small town an amazing art destination for Minimalist art. While this Midwesterner’s artwork and theory defined a generation of art, Judd also proved that art transcends geographic expectations.