A couple of weeks ago, I went to 101 Spring Street, the former home and studio of Donald Judd, to hear about a new Robert Irwin project to be built at the Chinati Foundation in Marfa, Texas.
Boxing Day is a holiday celebrated by aesthetes the world over. In order to purify ourselves after the rampant commercialism and visual over-stimulation of the past month, we devote this day to the solemn contemplation of square and rectangular Minimalist sculptures.
After Donald Judd moved to Marfa, Texas in 1971, he quickly transformed the cow-town into the art world’s desert outpost, much to the chagrin of some locals.
According to the international exhibition Minimal Baroque, contemporary art has locked Minimalism and maximalism in a lusty embrace. Moreover, the show claims this antithetical premise to be a productive condition of art making today.
PARIS — In a search for art that reacts to the inequalities of globalization, must art lose touch with the sort of grace that exceeds the hand, a grace that couldn’t be anything but artificial and technological?
Remember the kid who climbed on the Donald Judd sculpture at the Tate Modern? Well, her parents have taken to the London Evening Standard to set the record straight. They want the world to know that their daughter, Sissi Belle, was only on the sculpture for a matter of seconds and meant no harm — and that the nine-year-old is “anti-establishment” anyway.
Bushwick gallerist Stephanie Theodore is at the Tate Modern today and spotted this hilarious/sad/incredible/unbelievable (so many mixed emotions) scene of parents allowing their child to use a Donald Judd sculpture as a bunk bed.
JFK Airport, Queens, NY — On my way to Cape Town, South Africa I got bumped off my flight but upgraded to business on a flight four hours later. Free drinks and dinner in British Airways business class lounge and to catch up on some work poses no problems. Walking in to a new space I regularly take note of the art hanging on wall. At first glance the “toned down” works amongst the decor of the lounge appeared to be a traditional “hotel” selection and I was about to let it be when, on closer inspection, I realized I was surrounded by a collection of (admittedly toned down) work by some of the world’s leading artists.
An age-old question we’ve pondering endlessly is now an online quiz by Graydon Parrish and Mikhail Simkin over at Reverent Entertainment.
What is it about boxes that is so fascinating? I was thinking this as I went into Chicago’s Museum of Contemporary Art to see Pandora’s Box, a show that displays artist Joseph Cornell’s signature assemblages alongside the works of artists who allegedly were inspired by him or who were in artistic sympathy with him. I can think of historical precedents: medieval reliquaries; Victorian memento mori, which often look strikingly like Cornell’s miniature worlds. But these forebears don’t quite explain the combination of weirdness and visual beauty of something made by Cornell, nor the undoubted fascination with him since his death. His boxes frame the objects in a different way than a conventional picture frame, of course; they concentrate the viewer’s attention; but there’s something else, which finally came to me after I’d seen this show.
Art nerds of the world, rejoice! Flavin Judd, the son of famed minimalist sculptor Donald Judd, is answering questions about his father’s work and its conservation.
This is an artist’s essay that explores some of the ideas put forward in Powers’ three-part essay, “Art, Not Suicide,” published earlier this week. -Ed. Note