唐纳德·贾德的艺术空间丨美国德克萨斯

纯氧推荐语

我们都活在盒子里。在我看到一位建筑大师采访的时候，谈到唐纳德·贾德对他的巨大影响，我就不由自主地去百度了以下这个名字。我看到了最近某位设计师群友发给我的方案中的一个构造的原型，方形层板的竖向重复构成的墙面装置。一直以为这只是某种层架演变的简单造型，没想到竟然出自这位美国艺术家之手，唐纳德·贾德。

被称为“极简主义之父”的唐纳德·贾德创作了一系列以方格为基础的艺术品、家具甚至建筑艺术。每一个作品都以方形为基本元素，运用不同的材质，进行组合、阵列、放大、缩小。用极简的造型来表达一种面对复杂世界的态度，任凭世界的变化与复杂，他都用最简单的视觉元素来回应，而且所有作品都以《无题》命名。从作品到行为，高度一致地传达出他对于时代的思考。

现代的我们，每一个人都生活在水泥混凝土盒子里面，而这和唐纳德·贾德所表达的形式似乎有着高度的契合。最极致的材质和空间比任何口号标语都更有力量！“在本质上，实际空间比在平面上的颜料更有力量，也更具体。”—唐纳德·贾德

Portrait of Donald Judd. Courtesy of Galerie Gmurzynska

唐纳德·贾德（Donald Judd）是战后艺术史上具有里程碑意义的人物，他是美国知名极简风格艺术家，既不同于激情洋溢的抽象表现主义，也远离平易近人的“波普艺术”，以理性、冷漠和克制的姿态强调着自身纯粹和高贵的品质。

Donald Judd is a landmark figure in the history of postwar art. He is a well-known American minimalist artist, who is not only different from the passionate abstract expressionism, but also far from the approachable "Pop Art", with rationality, indifferent and restrained gestures emphasizing their own pure and noble qualities.

15 untitled works in concrete, 1980–1984

Donald Judd Foundation/VAGA, New York and DACS, London 2022

Donald Judd Untitled 1988

untitled, 1989Painted aluminum29.8 x 120 x 29.8 cmDonald JuddArt 2021 Judd Foundation/Artists Rights Society (ARS), New YorkPhoto: Rob McKeeverCourtesy Gagosian

唐纳德·贾德在纽约 Spring Street 工作室里，约 1970 年

摄影：Paul Katz

“我认为，一件艺术品的意义往往会因为陈列时没有考虑周到或放置不当而丧失。例如，我自己的作品以及其他人的作品的安装，这个过程与它的创作一样具有当代性的，而围绕着作品的空间对它来说是至关重要的。一件作品的摆放和作品本身所耗费的精力一样多。”——贾德

Untitled, 1970

传统绘画的背叛者

贾德于 1928 出生于美国密苏里州，10 岁跟随私人教师学习绘画，这成为他踏上美术之路的第一步。1946 年，贾德高中毕业后应征入伍被编入工兵部队。退役后，贾德于 1948 年进入纽约美术学生联合会学习，同时，他还在纽约哥伦比亚大学夜校学习哲学专业。30 岁时，贾德重返哥伦比亚大学攻读美术史硕士课程。专业美术训练和学科知识为他艺术创作打下坚实的基础，哲学则给予他思辨的能力，这为他日后成为艺术批评家埋下了伏笔。

Judd was born in Missouri, USA in 1928, and studied painting with a private teacher at the age of 10. This became his first step on the road of fine art. In 1946, after graduating from high school, Judd was drafted into the Army and was incorporated into the Corps of Engineers. After his retirement, Judd entered the Art Students Association of New York in 1948 to study. At the same time, he studied philosophy at Columbia University Evening School in New York. At the age of 30, Judd returned to Columbia University to pursue a master’s program in art history. Professional art training and subject knowledge laid a solid foundation for his artistic creation, while philosophy gave him the ability to speculate, which paved the way for him to become an art critic in the future.

Donald Judd. Untitled. 1989. Anodized aluminum clear and amber acrylic sheet. 100 × 200 × 200 cm Glenstone Museum, Potomac, Maryland. 2020 Judd Foundation / Artists Rights Society (ARS),New York

Untitled, 1970

Artist Donald Judd (1928 – 1994) held the 1993 Mondrian Lecture called ‘Some aspects of colour in general and red and black in particular‘

贾德的镀锌墙面作品(1988 年)摄影：斯特凡·鲁伊斯

Untitled (Studer 87-18), 1987

Donald Judd, Untitled, 1989

Untitled,1987

Donald Judd, Untitled, 1970

COURTESY: Galerie Thaddaeus Ropac

PHOTOGRAPH: Thomas Lannes

Donald Judd, Untitled, 1991

20 世纪 40 年代末，唐纳德·贾德开始从事绘画工作。他的第一次表现主义画作个展于 1957 年在纽约开幕。但从 20 世纪 50 年代中期到 1961 年，随着贾德对木刻艺术媒介的探索，他放弃绘画转而从事雕塑，这使得他对创作对象的表达逐渐从具象走向抽象，先是雕刻出协调的圆形，然后转向线条和角度的精细制作，于是他的艺术风格很快就摆脱了虚幻的媒介，拥抱以物质性为中心的架构。这一转变对当时正在崛起的概念艺术家一代至关重要，他们认为，想法本身可以作为艺术存在，不受任何物质化的影响。而他的第二次个人展与第一次时隔六年。这一场在格林画廊（Green Gallery）的展出是他真正意义上的个人展。在贾德看来，这些脱去表象的作品才是他认为值得展出的。

In the late 1940s, Donald Judd began to paint. His first solo exhibition of expressionist paintings opened in New York in 1957. But from the mid-1950s to 1961, with Judd’s exploration of the medium of woodcut art, he gave up painting and turned to sculpture, which made his expression of creative objects gradually move from figurative to abstract, first sculpting harmonious circle shapes, and then turned to the meticulous production of lines and angles, and his artistic style quickly moved away from illusory mediums and embraced materiality-centric architecture. This shift was crucial to the then-emerging generation of conceptual artists, who believed that ideas themselves could exist as art, free from any materialization. And his second solo exhibition is six years after the first one. This show at the Green Gallery is his real solo show. In Judd’s view, it is these works that take off their appearances that he thinks are worth exhibiting.

Donald Judd,Drawing for Untitled 1973 Structure,1972 ©2016 The Museum of Modern Art,New York.Gift of Sarah-Ann and Werner H. Kramarsky

贾德使用简单反复的形式来探索空间本身和作品对空间的利用。金属、工业胶合板、混凝土和彩色树脂玻璃等不起眼的材料是他职业生涯的主要材料。贾德的第一件扁方形箱体作品是在 1964 年制造的。同年，他开始进行壁挂式雕塑的创作，并首次发展出这些作品的曲线递进形式，这是由他一件无标题的作品发展而来：它将一根空心管子嵌入一个实心木块。早期作品里，贾德往往亲自动手，还会与父亲罗伊·贾德合作，但 1964 年，他开始根据自己的图纸委托专业工匠和制造商，用镀锌铁、铝、不锈钢、黄铜和铜来制作他的作品。在 1965 年，贾德创造了他的第一个标志性堆叠作品，以一个铁制箱体为单位，将它们从地板延伸到天花板。在这之后，贾德创作并展出了大量他的标志性作品。它们的范围从所谓的“栈”，即从地板到天花板每隔一段距离悬挂一次；“级数”，其测量遵循简单的数值序列；到牛鼻形状的突出物以及直接安装在地板上的盒状窗体。直到 1994 年，贾德去世之前，这些雕塑词汇仍是他创作许多版本作品的基础——各种金属、彩色有机玻璃和胶合板的组合。

Judd uses simple and repetitive forms to explore the space itself and the use of space by the work. Inconspicuous materials such as metal, industrial plywood, concrete and coloured Plexiglas were the staples of his career. Judd’s first flat square case work was made in 1964. In the same year he began working on wall-mounted sculptures, and for the first time developed the curvilinear progressive forms of these works, developed from one of his untitled works: it embeds a hollow tube into a solid wooden block. Judd’s early works tended to be hands-on and in collaboration with his father, Roy Judd, but in 1964 he began commissioning professional artisans and makers from his drawings in galvanized iron, aluminum, stainless steel, brass and copper his works. In 1965 Judd created his first signature stacking piece, united in a single iron box, extending them from floor to ceiling. After this Judd created and exhibited a large number of his signature works. They range from so-called "stacks", which are suspended at intervals from the floor to the ceiling; "series", whose measurements follow a simple numerical sequence; to bullnose-shaped protrusions and boxes mounted directly on the floor form. Until Judd’s death in 1994, these sculptural vocabulary remained the basis for many of his editions—combinations of various metals, colored plexiglass, and plywood.

Donald Judd, Untitled 1991, Judd Foundation

Untitled, 91-7 Ballantine, 1991

Untitled, 1991

Donald Judd, Untitled, 1984, Aluminum and acrylic sheets

Donald Judd, Untitled,1968, Stainless steel and plexiglass

20 世纪 70 年代初，贾德的艺术在规模和复杂性上都有所增加。他开始制作房间大小的装置，使空间本身成为他的游乐场，他希望观众看他的艺术是一种发自内心的身体体验。在整个 20 世纪 70 年代和 80 年代，他创作了一些激进的作品，避开了欧洲代表性雕塑的古典理想。贾德认为艺术不应该代表任何东西，它应该毫不含糊地独立存在。他的美学遵循自己严格的规则，反对幻想和虚假，创作出清晰、有力和明确的作品。1976 年，在国家艺术基金会的资助下，北肯塔基大学委托贾德设计了一尊 9 英尺(2.7 米)高的铝雕塑，并在学校的校园中央揭幕。另一件作品《无题》（untitled）(1984)是由钢筋混凝土制成的三部分雕塑，被安装在洛梅耶雕塑公园（Laumeier Sculpture Park）中。

In the early 1970s, Judd’s art increased in scale and complexity. He began making room-sized installations that made the space itself his playground, and he wanted viewers to see his art as a visceral physical experience.

Throughout the 1970s and 1980s he produced some radical works that eschewed the classical ideals of European representational sculpture. Judd believed that art should not represent anything, it should stand unequivocally on its own. His aesthetic follows his own strict rules against fantasy and falsehood, creating works that are clear, powerful and unequivocal.

In 1976, with funding from the National Endowment for the Arts, Northern Kentucky University commissioned Judd to design a nine-foot (2.7-meter) aluminum sculpture that was unveiled in the center of the school’s campus.

Another work, Untitled (1984), is a three-part sculpture made of reinforced concrete installed in the Laumeier Sculpture Park.

Donald Judd, Untitled 1991, Judd Foundation

Untitled, 1991 - 1994

特定对象

在作品中贾德为创作对象寻求着两种主要特点：自律和鲜明。创作对象被构建后营造出的空间氛围也应当具有这两个特点。许多艺术品在创作时讲究层级结构，但贾德最终去实现的却是一种没有成分层次的表达。在表达上各个作品成分之间也是平等的。贾德创造了大量看似热闹的作品，挑战着所谓的“极简主义”。尽管如此，他还是被视为国际“极简主义”的主要倡导者，并通过《特定对象》（Specific Objects）等开创性著作，成为极简主义最重要的理论家。在 1964 年他撰写的这一篇宣言式著作里，他为美国艺术的新领域找到了一个起点，同时也扬弃了欧洲遗留下来的艺术价值观，这些老旧的价值观是虚幻的，它们虽然代表着空间，但却不是真实的空间。他指出，当时活跃在纽约的许多艺术家的作品中，包括 H.C.韦斯特曼(H.C. Westermann)、卢卡斯萨马拉斯(Lucas Samaras)、约翰张伯伦(John Chamberlain)、贾斯珀约翰斯(Jasper Johns)、丹弗莱文(Dan Flavin)、乔治厄尔奥特曼(George Earl Ortman)和李邦迪库(Lee Bontecou)，都存在这种发展的证据。

In his works, Judd seeks two main characteristics for his subjects: self-discipline and sharpness. The spatial atmosphere created by the creative object should also have these two characteristics. Many works of art are created with a hierarchical structure, but what Judd ultimately achieves is an expression without a hierarchy of components. In terms of expression, the composition of each work is also equal. Judd created a plethora of seemingly hilarious works that challenged so-called "minimalism." Nonetheless, he is regarded as a leading advocate of "minimalism" internationally, and through seminal works such as Specific Objects, became the most important theorist of minimalism. In this manifesto, written in 1964, he found a starting point for a new field of American art, while at the same time dismissing the artistic values left over from Europe, these old values are illusory, although they represent space, but not real space. He noted that among the work of many artists active in New York at the time, including HC Westermann, Lucas Samaras, John Chamberlain, Jasper Johns ( Jasper Johns, Dan Flavin, George Earl Ortman, and Lee Bontecou, there is evidence of this development.

Donald Judd, Untitled 1992, Judd Foundation

贾德的作品在当时难以定义到某个清晰的空间维度，因此也无法轻易划分为绘画或雕塑，事实上，他拒绝将自己的作品称为雕塑。他指出，这些作品不是雕塑，而是在善用工业流程的制造商手中制作的。这类对象的范畴同一性本身是有问题的，它们避免与陈旧和过于熟悉的惯例自然而然地联系起来，这是它们对贾德而言作品价值的一部分。他在 1966 年甚至“大放厥词”——方法不重要，结果创造艺术。这在当时简直是石破天惊。

Judd’s work was difficult to define at the time with a clear spatial dimension, and therefore could not be easily classified as painting or sculpture. In fact, he refused to call his work sculpture. He points out that these pieces are not sculptures, but made in the hands of manufacturers who make good use of industrial processes. The categorical identity of such objects is inherently problematic, and their avoidance of natural associations with outdated and over-familiar conventions is part of their work’s value for Judd. In 1966 he even "made a big deal" - the method doesn’t matter, the result creates art. At the time, this was simply ground-breaking.

把作品永久留下

Donald Judd, Untitled 1973, Judd Foundation

Donald Judd, Untitled,1965, Lacquer and galvanized iron

1968 年，贾德在纽约 Soho 区买了一栋五层楼高的建筑，这使得他开始以一种比画廊或博物馆展览更长久的方式展示自己的作品，在展出作品上也变得更加自由主动，成为推荐自己乃至别的艺术家作品的永久场所，从另一个角度看，也是一件大型的永久装置。在他看来，由策展人为公众设计的临时展览里，它们将艺术本身置于死板的背景之中，最终由于无能或不理解而导致艺术的机能退化。随着永久保留艺术的想法变得越来越重要，他对当时艺术世界的厌恶也以增长，这成为他后期对所谓极简主义和表现主义批评的主要关注点。

In 1968, Judd bought a five-story building in New York’s Soho district, which allowed him to begin exhibiting his work in a way that would outlast gallery or museum exhibitions, and become more in-demand in exhibiting his work. Free and active, it has become a permanent place to recommend one’s own and other artists’ works. From another perspective, it is also a large-scale permanent installation. In his view, temporary exhibitions designed by curators for the public place art itself in a rigid background, and ultimately degenerate art through incompetence or incomprehension. As the idea of perpetuating art became more important, so did his distaste for the art world of the time, which became the main focus of his later criticism of so-called Minimalism and Expressionism.

100 Untitled Works in Mill Aluminum, Judd Foundation

几年后，贾德移居德克萨斯州的马尔法，在那里他被奇瓦瓦沙漠的景色和稀少的人口所吸引。在马尔法，他对住所兼工作场所也进行了如纽约住所的炮制。这个项目最终在印度媒体艺术基金会（Dia Art Foundation）的资助下成长为一个大型建筑群博物馆，现在被称为“Chinati Foundation”。基金会最初是为了展示唐纳德·贾德、约翰·张伯伦（John Chamberlain）和丹·弗莱文（Dan Flavin）的作品。后期基金会的理念得到了进一步的发展，它的收藏也随着时间的推移得到了丰富，现在永久性的收藏已经扩大到包括卡尔·安德烈（Carl Andre）、因戈尔弗·阿纳尔松（Ingólfur Arnarsson）、罗尼·霍恩（Roni Horn）、伊利亚·卡巴科夫（Ilya Kabakov）、理查德·朗（Richard Long）、克劳斯·奥尔登堡（Claes Oldenburg）和库斯杰·范·布鲁根（Coosje van Bruggen）、大卫·拉比诺维奇（David Rabinowitch）和约翰·卫斯理（John Wesley）。每个艺术家的作品都被安装在一个单独的建筑或户外区域。除了永久收藏外，定期举办的临时展览还以各种媒体的现当代艺术为特色。

A few years later, Judd moved to Marfa, Texas, where he was drawn to the scenery and sparse population of the Chihuahuan Desert. In Marfa, he did the same thing as his New York residence. The project eventually grew into a large complex of museums, now known as the "Chinati Foundation", with funding from the Dia Art Foundation of India. The foundation was originally created to showcase the work of Donald Judd, John Chamberlain and Dan Flavin. The philosophy of the late foundation has been further developed and its collection has been enriched over time, and the permanent collection has now been expanded to include Carl Andre, Ingolf Arna Ingólfur Arnarsson, Roni Horn, Ilya Kabakov, Richard Long, Claes Oldenburg with Coosje van Bruggen, David Rabinowitch and John Wesley. Each artist’s work is installed in a separate building or outdoor area. In addition to the permanent collection, regular temporary exhibitions feature modern and contemporary art in a variety of media.

15 Untitled Works in Concrete, 1980-1984, Judd Foundation

Donald Judd

Untitled (for Leo Castelli),1977

Donald Judd, Untitled,1984, Concrete

Donald Judd with his work at Whitechapel Gallery, London, 1970. Judd Foundation. Licensed by VAGA, New York, NY. Courtesy Whitechapel Gallery Archive. Photography: Richard Einzig

Donald Judd library desk and bookshelf

Judd’s high-walled bed 贾德精心设计的装置和他创作的雕塑表明，他认为空间本身是一种材料，就像他的作品所使用的工业表面一样重要。他对建筑和设计也非常感兴趣，他的活动扩展到保存和改造现有的建筑，以及家具设计和版画。在他的一生中，贾德不断发表文章，倡导批判思想的价值和艺术家对社会的重要性。

Judd’s elaborate installations and the sculptures he creates show that he considers space itself a material, as important as the industrial surfaces used in his work. He is also very interested in architecture and design, and his activities extend to the preservation and renovation of existing buildings, as well as furniture design and printmaking. Throughout his life, Judd continued to publish articles advocating the value of critical thought and the importance of the artist to society.

Donald Judd Art Print by federico babina

【其他艺术家】

约翰·詹姆斯·奥杜邦：画鸟的人

张璇：以世界绘世界

曲丰国：描绘时间的人

George Condo：他只描绘小人物，侃爷、权志龙却争相收藏。