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Donald Judd's design:
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a turning point in the history of modern sculpture?
Apparently, Nicholas Serota, director of the Tate Modern, was not prepared to let the name of Donald Judd (1928-1994) silently fade from our memories - did he not do his utmost to make the man famous in the first place? Ten years after his death - sixteen years after the last substantial exhibition - he presents a big retrospective of the work of the artist who has 'changed the course of modern sculpture''. The exhibition travels to Düsseldorf (19/06 to 05/09/04) and Basel (02/10 to 09/01/05). Heavy artillery, that makes us ask what has to be canonised here at all cost.
Who is this master and what everlasting works did he leave to posterity?
BOXES
'Il faut être un homme vivant et un artiste posthume'
Jean Cocteau, Le rappel à l’ordre.
From 1947 to 1953 - in the heydays of the very 'abstract expressionism' that soon will be promoted as the panacea of the Free World with a little
help from the CIA* - Donald Judd studied at Art Students League in New York, the College of William and Mary and the Columbia University.
Meanwhile, he is already fully active as an art critic and a painter. Already in 1957, he has his first show in the Panoramas Gallery - although from
the paintings exhibited there no trace is to be found in what is announced as the 'first full retrospective'. But things are not going well with the Action
Painting in New York. Andy Warhol comes to replace Jackson Pollock. Accordingly, the expressionistic gestures on Judd's canvasses are replaced
with a baking tin (1961).
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