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  • Provenance

    Margot Paz, Madrid
    Galerie Lelong, New York
    Nick and Vera Munro, Hamburg
    Paula Cooper Gallery, New York
    Private Collection

  • Catalogue Essay

    In his 1964 essay, “Specific Objects”, Donald Judd carves out a space for himself in the world of art. Arguing against reductive labels such as “painting” and “sculpture”, Judd asserted that his recent berth of artistic constructions consisting of plywood, metal, colored Plexiglas and other materials be classified with a term of their own, “specific objects”. These assemblies of open three dimensional forms did not conform to the methods of the sculptor, but were manufactured with industrial means. In addition, as he made clear in the seminal years that followed, his creations were not to be analyzed by any artistic authority or criticized for their inherent value; they stand on their own, representatives unto themselves and self-evident in their meaning. “Color is like material. It is one way or the other, but it obdurately exists. Its existence as it is is the main fact and not what it might mean, which may be nothing” (Donald Judd, 1993, from “Some Aspects of Color in General and Red and Black in Particular”, Donald Judd: Colorist, Edited by Dietmar Elger, Ostinfildern, 2000).

    Untitled (Lippincott), 1985, reflects both Judd’s adherence to his artistic credo and his explorations of space and color. The four sets of vertical boxes seem to organize themselves in a geometrical pattern, dividing into three, then coalescing into a smaller original form, then splitting into two in the last compartment. The fascinating interplay of Judd’s interior green Plexiglas and the metallic of its surrounding aluminum creates a wealth of exploratory possibilities for the viewer, where perspective and light transform the standing characteristics of the present lot. Judd’s specific object inhabits a world of its own, making any type of label or categorization to seem a fruitless enterprise. It highlights both the importance and legitimacy of this and every artwork’s autonomy.

  • Artist Biography

    Donald Judd

    American • 1928 - 1994

    Donald Judd came to critical acclaim in the 1960s with his deceptively simple, yet revolutionary, three-dimensional floor and wall objects made from new industrial materials, such as anodized aluminum, plywood and Plexiglas, which had no precedent in the visual arts. His oeuvre is characterized by the central constitutive elements of color, material, and space. Rejecting the illusionism of painting and seeking an aesthetic freed from metaphorical associations, Judd sought to explore the relationship between art object, viewer, and surrounding space with his so-called "specific objects." From the outset of his three-decade-long career, Judd delegated the fabrication to specialized technicians, eschewing any trace of the artist’s hand. Though associated with the minimalist movement, Judd rejected the term and did not wish to confine his practice to this categorization. 

    After moving to Marfa in 1972, he began drawing plans for the Chinati Foundation, an exhibition space which opened in 1986 to showcase his objects as well as the work of other contemporary artists and is still operating today. In 2020, his revolutionary career was celebrated in a major retrospective at the Museum of Modern Art, New York. 

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Ο27

Untitled (Lippincott)

1985
anodized aluminum, clear and green Plexiglas
9 7/8 x 60 x 9 7/8 in. (25 x 152 x 25 cm)

Estimate
$500,000 - 700,000 

Sold for $842,500

Contemporary Art Part I

7 November 2011
New York