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Johns’s few cast objects and a few of Rauschenberg’s works, such as the goat with the tire, are beginnings. Some European paintings are related to objects, Klein’s for instance, and Castellani’s, which have unvaried fields of low-relief elements. Arman and a few others work in three dimensions. Dick Smith did some large pieces in London
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,
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.
Key to this transformation was his essay “Specific Objects,” written in 1964 and published the following year in Arts Yearbook 8. The text celebrated a new kind of artwork untethered from the traditional frameworks of painting and sculpture, focusing instead on an investigation of “real space,” or three dimensions, using commercial ...
This exhibition proposes to correct the widely held misconception about Donald Judd’s often-quoted 1965 article “Specific Objects”: that it is a statement of first principles, a...
‘Specific Objects’ was the title of Judd’s now famous 1965 essay in which he first argued that it was the singularity of an object and the physical actuality of its presence in real space that established not only its formal identity but also its power and efficacy as a work of art.
