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  2. The disinterest in painting and sculpture is a disinterest in doing it again, not in it as it is being done by those who devel - oped the last advanced versions. New work always involves objections to the old, but these objections are really relevant only to the new. They are part of it.

  3. In Donald Judd …texts of the movement, “Specific Objects” (1965). The article laid out the Minimalist platform of stressing the physical, phenomenological experience of objects rather than representing any metaphysical or metaphoric symbolism.

  4. www.moma.org › artists › 2948Donald Judd | MoMA

    Donald Clarence Judd (June 3, 1928 – February 12, 1994) was an American artist associated with minimalism. In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy.

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  5. www.artforum.com › features › hal-foster-on-the-artOBJECT LESSONS - Artforum

    “Half or more of the best new work in the last few years has been neither painting nor sculpture,” he stated in the famous first lines of “Specific Objects” (1965). “Much of the motivation in the new work is to get clear of these forms. The use of three dimensions is an obvious alternative.”

  6. This exhibition proposes to correct the widely held misconception about Donald Judds often-quoted 1965 article “Specific Objects”: that it is a statement of first principles, a manifesto...

  7. Donald Judd who, in his essay, "Specific Objects," spelled out this strategy. "The best new work," he declared, is "neither painting nor sculpture," but a paradoxical hybrid, like "a picture [which] stops being a picture and turns into an arbitrary object."2 The specific object only needs the third dimension in order to exist,

  8. Apr 29, 2024 · Credited as Minimalism’s principal spokesman, Judd wrote what is considered to be one of the most significant texts of the movement, “ Specific Objects” (1965). The article laid out the Minimalist platform of stressing the physical, phenomenological experience of objects rather than representing any metaphysical or metaphoric symbolism.

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