{"id":105542,"date":"2016-12-06T13:29:49","date_gmt":"2016-12-06T18:29:49","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=105542"},"modified":"2016-12-07T10:47:30","modified_gmt":"2016-12-07T15:47:30","slug":"from-writings","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/12\/06\/from-writings\/","title":{"rendered":"From Writings<\/i>"},"content":{"rendered":"
<\/a>

Donald Judd at 101 Spring Street, second floor. Judd Foundation, New York, 1985. Photograph by Doris Lehni Quarella \u00a9 Antonio Monaci. Reproduced from Donald Judd: Writings<\/em>.<\/p><\/div>\n

 <\/p>\n

Donald Judd Writings<\/a>, a\u00a0new collection of Donald Judd\u2019s essays, criticism, and ephemera, was published last month by Judd Foundation and David Zwirner Books. Spanning 1958 to 1993, the book includes expansive, previously unpublished excerpts from Judd’s notes, integral to his creative process\u2014they find him wrestling with the role of art and criticism in the culture. \u201cDon\u2019s writings were a parallel activity to his art, architecture, and design,\u201d Flavin Judd, Donald\u2019s son and the book\u2019s coeditor, writes in an introduction. \u201cThe goal should be to find something within the writings that is useful, something that can be a tool for future use. We hope that Don\u2019s thoughts, ideas, and complaints can be used by others to create.\u201d Below, Flavin has selected some of his favorite excerpts from his father\u2019s work.\u00a0<\/em><\/p>\n

\u00a0<\/strong><\/h1>\n

NOTES,\u00a0<\/strong>1982<\/strong><\/p>\n

Some TV sets are not so bad, like Sony or Skidmore, Owings & Merrill, and some are awful, like Zenith or Johnson and Burgee.\u00a0<\/p>\n

 <\/p>\n

NOTES,\u00a0<\/strong>1983<\/strong><\/p>\n

There is not so much progress as change, but then such ideas as the independence of the artist, which can be argued as progress, and which quickly connects to the independence of the individual, are clearly in work, and have partly determined its nature. No one can deduce from their work that Newman or Pollock were working for an institution, even indirectly. Now we have more to do with the society, usually very uncomfortably, but similarly no one could believe that Oldenburg or Chamberlain were working for it or any of its institutions, certainly not the museums. Independence is implicit in the personal nature of the work.\u00a0<\/p>\n

Until recently most art, often not considered art, has been supported by social structures, but the civilization of art has now become the independence of the artists, of the individual. There is a lot of pressure to reverse this in order to grab the artist. There is also the tendency of lesser artists to not understand the necessity of independence and to sell out, which can be done crassly or gracefully, but is still servitude.<\/p>\n

I have my version of recent art history. I\u2019m certain that, for example, Lucas Samaras has a different version.\u00a0<\/p>\n

Intellect and emotion, thought and feeling, and form and content are the same false dichotomy.\u00a0<\/p>\n

The Americans have an excessive awareness of an identity that they don\u2019t have.\u00a0<\/p>\n

\u201cThey\u201d think that there is an outer layer that produces beautiful or reasonable work while underneath there is an inner layer that is the same as they are: mercenary, devious, mediocre, foolish as they.\u00a0<\/p>\n

It\u2019s a paradox that living is so ordinary when it\u2019s so brief and unusual.\u00a0<\/p>\n

In Houston the visual interest of the new architecture is so low as to be impalpable. The social incongruity is high. There\u2019s lots of vacant lots. But ultimately incongruous is that the corporate skyscrapers can be seen standing high behind little white houses.\u00a0<\/p>\n

\u00a0<\/u><\/p>\n

NOTES,\u00a0<\/strong>JANUARY TO OCTOBER 1989<\/strong><\/p>\n

28 January 1989 Casa Perez<\/u><\/p>\n

Those who know less and less dominate more and more those who resist less and less.\u00a0<\/p>\n

\u00a0<\/strong><\/p>\n

16 February 1989 Las Casas<\/u><\/p>\n

The new work of this century has been destroyed several times, intentionally in Russia and in Germany. Now it\u2019s being destroyed by the fifth column, from within, with cooperation, by the central bureaucracy, which has finally won, to which everyone agrees, even doesn\u2019t know otherwise. There aren\u2019t any \u201cissues\u201d in art because there aren\u2019t any in the society. Orwell got the date right but he presented the form in terms of the 1930s, one group controlling another, a great opposition, an implemented plan, when now the people control themselves, submit thoughtlessly, and it\u2019s not necessary to enforce \u201cdouble-talk\u201d or even have a word for it, because it\u2019s nature.\u00a0<\/p>\n

 <\/p>\n

8 August 1989 Eichholteren<\/u><\/p>\n

There have been constant attempts to bury Pollock, Rothko, Newman, Still, and later artists. A current and prevailing one in Europe and an early one in New York was to try to link the artists to the imperialism of the United States Government. There are plenty of other arguments also, but this one is especially false and nasty. A new argument for burial is burial in time, the \u201c1960s.\u201d The nastiest of this is that somehow \u201cPop art, Minimalism, etc., were rigid categories that did not allow the present freedom of choice\u201d\u2014this is almost a quote from a few years ago in the\u00a0New York Times<\/em>. The opposite is so; the freedom was absolute. But the artists had real differences and real positions, which is fundamental to first-rate art. So now the artists, many artists, do not want art to be disturbed by clear positions and in confusion, in the equality of mediocrity, it is tepidly free, as those who behave themselves are free. The early 1960s were very tolerant, and in fact overlooked the differences too much, but there was little backbiting. Now there is plenty. The less the differences, the more fierce the biting. Other than the United States and the Soviet Union, ordinary people fight over common and disputed territory, not over distant positions. That can be argued in a more calm and sensible way.\u00a0<\/p>\n

 <\/p>\n

14 September 1989 Las Casas<\/u><\/p>\n

I watch the yuppie lawyers and stockbrokers who\u2019ve figured out which way the sun rises and sets. They think they are the \u201ccutting edge\u201d of civilization, of the future. That justifies anything. That aura surrounds their gimmick.\u00a0<\/p>\n

 <\/p>\n

\"judd-writings\"<\/a><\/p>\n

 <\/p>\n

NOTES,\u00a0<\/strong>NOVEMBER TO DECEMBER 1989<\/strong><\/p>\n

26 November 1989 Las Casas<\/u><\/p>\n

Everyone thinks there\u2019s a higher authority, but they always have the wrong authority.\u00a0<\/p>\n

 <\/p>\n

NOTES,\u00a0<\/strong>1990<\/strong>\u00a0<\/strong><\/p>\n

1 February 1990 K\u00f6ln<\/u><\/p>\n

Some earlier dates seem important, Erasmus was born in 1466; D\u00fcrer was born in 1471; the time seems important. The present time seems unimportant. It\u2019s as if the most that can be said for it is the answer Harold Webb gave when someone asked him what his ranch was good for, since it was so dry. Harold said it was very important: \u201cIt holds the earth together.\u201d\u00a0<\/p>\n

 <\/p>\n

13 May 1990 La Mansana de Chinati<\/u><\/p>\n

The Caddo, the Pawnee, the Mandan, the Kiowa, every group, every group that loses, of course loses its future, but also it loses the past, since that no longer matters. All histories change when the group fails. There is no longer greatness to arrive to; the past doesn\u2019t seem as great and lucky as it did. English history is not what it was. American history is forgotten. History in general is not so grand. Earlier epics were made by later Greeks.\u00a0<\/p>\n

 <\/p>\n

10 November 1990 La Mansana de Chinati<\/u><\/p>\n

The government deregulated the savings and loans, allowing wild speculation, while maintaining their financial guarantee, that is, for the speculators as well as the depositors. Reagan\u2019s government claimed it wanted a small government and free enterprise for business, while developing an enormous military, from which many of those businesses benefited. The ranchers and farmers are \u201cconservative\u201d and vote against Hightower while all receiving large subsidies \u2013 it\u2019s part of their \u201cbusiness.\u201d This attitude, this speculation, this kind of \u201cfree enterprise,\u201d this \u201cconservatism,\u201d depends on money from the United States government. It\u2019s a contradiction of its pious claims; it\u2019s a fake; it\u2019s an exploitation of the public.\u00a0<\/p>\n

 <\/p>\n

NOTES,\u00a0<\/strong>JANUARY TO AUGUST 1991<\/strong>\u00a0<\/strong><\/p>\n

3 February 1991 K\u00f6ln<\/u><\/p>\n

At least in the beginning of this century the ideas fought for were developed and serious, if partly wrong and debased, perverted, while now even the residual slogans are superficial, are without a context, always perverted, fake, simple as slogans for the most reduced and ignorant attitudes, vestiges of earlier doctrines. It\u2019s not necessary to know anything about the ideas or the history of slogans you\u2019re fighting, and dying for, only the slogans. This fits the complete postmodern fascist attitude.<\/p>\n

\u00a0<\/strong><\/p>\n

5 March 1991 Las Casas<\/u><\/p>\n

The Americans could be fanatic about the True Faith or Leninism, but they are fanatic about not much at all, not about a defined cause, but about a few vague attitudes that have drifted to a pause momentarily. In the shallow expanse of vague ideas the point of fanaticism can be anywhere. When did so many obediently fight for so little? At least Genghis Khan was genuinely selfish. The Americans can\u2019t even focus on that.\u00a0<\/p>\n

 <\/p>\n

6 April 1991 Las Casas<\/u><\/p>\n

Christianity, the family, the country are slogans for the Republicans as integration, minority, domestic services are for the Democrats. Both conceal the military state. The Republicans are not conservative in practice, but opportunistic. The Democrats are not progressive but bureaucratic. The Republicans are winning because their slogans are older and simpler and can be understood by the new generations who know less. And also God and Country fit the military state and perpetual war better than Fraternity and Equality.\u00a0<\/p>\n

 <\/p>\n

NOTES,\u00a0<\/strong>OCTOBER 1991<\/strong>\u00a0<\/strong><\/p>\n

21 October 1991<\/u><\/p>\n

Maybe the work of artists doesn\u2019t add up, as does astronomy, but maybe the work helps measure the freedom necessary for science. If the canary in the mine stops singing and dies there isn\u2019t enough air and the miners are next.\u00a0<\/p>\n

 <\/p>\n

NOTES,\u00a0<\/strong>MARCH TO DECEMBER 1992<\/strong><\/p>\n

\u00a0<\/strong>9 August 1992 Las Casas<\/u><\/p>\n

In Mackie, remember the rigging of elections during WWII to avoid the electorate interfering with party candidates and the centralizing of power after the war. The British lost their empire, they lost the war, but their government won the war against their own people.\u00a0<\/p>\n

 <\/p>\n

NOTES,\u00a0<\/strong>FEBRUARY TO NOVEMBER 1993<\/strong><\/p>\n

10 March 1993 Casa Morales<\/u><\/p>\n

In 1983 I wrote that the quality of new art has been declining for fifteen years. In 1993 the quality of new art has been declining for twenty-five years. No one wonders about this. Few even see a decline\u2014which is a cause and a result of the decline. In 1983 I wrote that artists are responsible for the state of the art. And now there are still a few good younger artists. But two years ago the art business, which includes the museums, after exploding, collapsed completely like a star of someone\u2019s civilization. No one has asked why, even though they are still alive, such as they are. There has been no discussion in print, privately to me very little, about why the art business collapsed.\u00a0<\/p>\n

 <\/p>\n

28 July 1993 Las Casas<\/u><\/p>\n

People can\u2019t see beyond their self-interest but their self-interest is inadequate because they can\u2019t see beyond it.\u00a0<\/p>\n

 <\/p>\n

7 August 1993 Eichholteren<\/u><\/p>\n

The secret to the greatest power is to claim to control what is going to happen anyway: the Aztecs, the sun; the Pharaohs, the Nile; the Pimas, the rain; the Americans, their safety.<\/p>\n

 <\/p>\n

Donald Judd (1928\u201394) began his artistic career as a painter and transitioned to three-dimensional work in the early 1960s. Throughout his lifetime, in his writings and his work, he advocated for the importance of art and the artist\u2019s role in society. His work has been exhibited internationally since the 1960s and is included in numerous museum collections. A major retrospective of the artist’s work will be held at the\u00a0Museum of Modern Art, New York.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The artist\u2019s son Flavin picks his favorite work from the new collection of essays and notes.<\/p>\n","protected":false},"author":1112,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[1657,35,478,26106,4541,26103,364,26104,26105,10548,7021,964,54],"class_list":["post-105542","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-architecture","tag-art","tag-criticism","tag-david-zwirner-galley","tag-donald-judd","tag-donald-judd-writings","tag-essays","tag-flavin-judd","tag-judd-foundation","tag-land-art","tag-notes","tag-sculpture","tag-television"],"acf":[],"yoast_head":"\nExcerpts from Donald Judd\u2019s Writings, Selected by His Son, Flavin<\/title>\n<meta name=\"description\" content=\"Flavin picks his favorite work from a new collection of essays and notes by his father.\" \/>\n<meta name=\"robots\" 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