I didn’t go any closer, since I wasn’t sure the animals would actually flee if I did, so I never got to see the whole thing.The antelope reminded me of an experience Judd recounted in his diary on December 3, 1986, while he was staying at one of his ranches farther out in the desert. It’s an Instagram trap. The signs were meant to be read by German prisoners held in Fort D.A. Reflections on the maxi-influence of the Minimalist Donald Judd — master of Marfa, maker of furniture and stacker of units. The original site for the indoor work was a former wool store in downtown Marfa, but when Judd decided the sculpture would consist of 100 separate aluminum boxes he realized the storefront would be too small.
It’s hard to escape popular taste in the long run, no matter how radical you think you are.©2020 Artnet Worldwide Corporation. The inn had opened not so long ago and I suspected I was the only occupant until late in my trip when some neighbors arrived. Animals had left what seemed like nests in some of the boxes, particularly those with a closed side, which needed sweeping out. SoHo was the classic example. I realized that the land and presumably the rabbits, quail, lizards, and bugs didn’t know that this was beautiful,” he wrote. Behind him is Hans Hofmann’s “Bacchanale” (1946).The Renate, Hans & Maria Hofmann Trust/Artists Rights Society (ARS), New York; Christopher Gregory for The New York TimesMr. The boxes do not symbolize anything. Photo by Carol M. Highsmith/Buyenlarge/Getty Images.Some of the boxes are self-enclosed and impenetrable while others are open so that a breeze would pass through them, if much air moved through the enclosed sheds. It’s mind-altering. In the decade that followed, the museum’s instant landmark status, tourism boom, and the artistic community that sprung up around it led to the coinage of the “Bilbao Effect.” It’s “a phenomenon whereby cultural investment plus showy architecture is supposed to equal economic uplift for cities down on their luck,” according to The tactic has been adopted everywhere from Denver and Athens to Abu Dhabi, Leipzig, and the Japanese island of Naoshima. For the majority … It simply exists.”This is Minimalism’s most powerful and frightening insight. It’s a sweaty process. As climate change intensifies it’s more than conceivable that the boxes will outlast the life around them as the sand accumulates, and will remain as ruins.After the last set of boxes is a small hill with a path upwards. Kickstarted by Judd, the town is now a hipster oasis. Instead of being comforting in the manner of a clean apartment or a bare gallery space, they are instead implacable, aggressive, and intimidating.
He was able to present his idea in a straightforward way, which is what I tried to do at the time — and still do.Things changed for me with my “Polish Village” series, in terms of moving to three-dimensions. “It’s very much as if the Hamptons had been plopped down in the middle of the desert,” he said. I went one morning equipped with the requisite hat and heavy sunscreen and walked until I hit an enormous box made of concrete, a rectangular prism of slabs 25 centimeters thick, two-and-a-half meters square on a side by five meters long. On We asked five noted makers to reflect on Judd, the person and the artist, as inspiration. It’s a home, but it’s kind of tight and formal in a provocative way.
I saw a show in Pasadena in 1971 with rectangular things sticking out of the wall. I thought it was really great that he was a critic, too. He recalled a moment the previous September when the landscape was in bloom from rain. Auction-house sales net a billion dollars in a night as collectors compete over blue-chip artists, though Judd’s prices have never reached the heights of Warhol, Jeff Koons, or Damien Hirst. The vast West Texas landscape is host to one of the most remarkable small towns I’ve ever encountered. Stella’s “Nasielk III” (1972), made of synthetic polymer paint and felt on corrugated cardboard, shows Judd’s influence.Frank Stella/Artists Rights Society (ARS), New York; The Museum of Modern ArtSelldorf Architects designed the David Zwirner Gallery on West 20th Street in Manhattan. As I paced the long aisles in silence except for the sounds of my echoing steps, the light bouncing off the metal made it hard to tell what was actually the inside of a form and what was out.
On the highway 10 minutes outside of Marfa there’s a single building on the side of the empty stretch of road. Read an excerpt from Kyle Chayka's new book, "The Longing for Less: Living With Minimalism. But each one is different from all of the rest, like so many snowflakes.The Chinati Foundation, Marfa, Texas. He designed plywood furniture, wrote criticism and worked on dozens of architectural projects. Marfa has suffered the same gentrifying fate as SoHo, where the lofts renovated into glossy sameness now rent for tens of thousands of dollars a month and the ground floors of former factories are occupied by luxury fashion brands more often than not. Art has been commodified at a scale that Judd may have never imagined, and its most successful figures are mainstream celebrities who work with clothing brands and collaborate with pop stars.Judd couldn’t get far enough away. Sketches for the box sculptures evolved into floor plans. They sold a portion of his work that he had kept for himself at auction in order to fund the preservation of what they thought was most important: the loft at 101 Spring Street and Marfa spaces like The Block.
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