Fascinating
The circle is the most basic form. It s only a set of points which are at the same distance from the center. What fascinating that so much is happening with two circles! Donald Judd did only two things: laying a bigger circle over a smaller circle, laying this bigger circle on a slope. Everything else is kept the same; the distance to the center, the thickness of the line.
Also fascinating is that this artwork evokes so many associations, due to the location of the line (the river), near irregular forms (the trees), on the large surface (the lawn). To what extent is our habitat feasible: can we influence the flow of a river, do we want do ban the variability of the nature, will nature submit to our straightforwardness? Two abstract shapes let us think about straightness, consistency, harmony, freedom, receptiveness.
By Theo, www.artatsite.com
Vertaling
Fascinerend
De cirkel is de eenvoudigste vorm. Het is alleen maar een verzameling punten die op dezelfde afstand van het centrum liggen. Wat fascinerend dat er zoveel gebeurt met twee cirkels! Donald Judd heeft alleen maar twee dingen gedaan: een grotere cirkel leggen over de kleinere cirkel, deze grotere cirkel onder een helling leggen. Verder is alles hetzelfde gebleven: de afstand tot het centrum, de dikte van de lijn.
Ook fascinerend dat dit kunstwerk zoveel associaties oproept; vanwege de ligging aan de rechte lijn (de rivier), bij de grillige vormen (de bomen), op het grote oppervlakte (het grasveld). In hoeverre is onze habitat maakbaar: kunnen wij de stroming van een rivier be nvloeden, willen wij de grilligheid van de natuur uitbannen, laat de natuur zich onderwerpen aan onze rechtlijnigheid? Twee abstracte vormen laten ons nadenken over rechtlijnigheid, samenhang, balans, vrijheid, ontvankelijkheid.
Door Theo, www.artatsite.com
www.stadt-muenster.de:
The shape is immediately understandable: two concentric, concrete rings the inside ring follows a horizontal line, the outer ring runs along the slant of the hillside. Works that leave nothing to chance and have no natural features are called Minimalist . Each form is clear and immediately becomes an idea.
Here, the landscape provides two preconditions: the horizontal plane and the downgrade. The idea does not become part of nature, but instead, the circles stand alone in opposition as a topographical regulator in the shape of two concrete circles (Donald Judd).
www.skulptur-projekte-archiv.de:
Three dimensions are real space. [ ] Actual space is intrinsically more powerful and specific than paint on a flat surface , Judd commented in 1964 concerning approaches to volume.
Instead of spatial illusion, Judd demanded an immediate experience of his work, which also contrasted with the European ideal of representational sculpture.
His essay Specific Objects from 1964 is often read as being a manifesto for a new American art which rejects the significance of illusion and representational space as opposed to real space. Using painting as a point of departure and searching for ways lending colour a sculptural form that enabled it to act in space, Judd broke, during the 1960s, with prevailing artistic strategies.
www.skulptur-projekte-archiv.de:
As in much of his work, the rings likewise alternate between simple open and closed geometrical forms; the oppositions of beginning and end, solid and hollow cancel each other out.
Even though Judd always rejected Minimal Art as a description of his artistic practice, he is nevertheless regarded, together with such artists as Robert Morris and Sol LeWitt, as one of the founders of this art movement that emerged in New York during the 1960s.
The form and material of his serial and industrially fabricated objects bear a close relationship to one another. Such a merging enabled Judd to insist on the object quality of his pieces. Their potential interpretation does not extend beyond the object itself; they are not symbols for something else. His art was not to be representational, but rather invariably with the human scale in mind a physical experience.
The viewer is able to realise, that they themselves, in changing their point of view, the lighting and spatial context, create the relationships, and the defining of scale is a function of the size of their own bodies. Judd s works relate completely to their surroundings and the specifics of their landscape-topographical or architectural setting. The two concentric concrete rings in M nster are a virtually idealised version of the existing topography.
Text by Sophia Trollmann.
www.wikiquote.org:
Donald Judd, in: American Dialog, Vol. 1-5, (1964):
Any combining, mixing, adding, diluting, exploiting, vulgarizing, or popularizing of abstract art deprives art of its essence and depraves the artist's artistic consciousness. Art is free, but it is not a free-for-all.
The one struggle in art is the struggle of artists against artists, of artist against artist, of the artist-as-artist within and against the artist-as- man, -animal, or -vegetable.
Artists who claim their artwork comes from nature, life, reality, earth or heaven, as 'mirrors of the soul' or 'reflections of conditions' or 'instruments of the universe', who cook up 'new images of man' - figures and 'nature-in-abstraction' - pictures, are subjectively and objectively, rascals or rustics. www.wikipedia.org:
Donald Clarence Judd (June 3, 1928 February 12, 1994) was an American artist associated with minimalism (a term he nonetheless stridently disavowed).
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.
He is generally considered the leading international exponent of "minimalism", and its most important theoretician through such writings as "Specific Objects(1964). Judd voiced his unorthodox perception of minimalism in Arts Yearbook 8, where he says, "The new three dimensional work doesn't constitute a movement, school, or style. The common aspects are too general and too little common to define a movement. The differences are greater than the similarities."
The circle is the most basic form. It s only a set of points which are at the same distance from the center. What fascinating that so much is happening with two circles! Donald Judd did only two things: laying a bigger circle over a smaller circle, laying this bigger circle on a slope. Everything else is kept the same; the distance to the center, the thickness of the line.
Also fascinating is that this artwork evokes so many associations, due to the location of the line (the river), near irregular forms (the trees), on the large surface (the lawn). To what extent is our habitat feasible: can we influence the flow of a river, do we want do ban the variability of the nature, will nature submit to our straightforwardness? Two abstract shapes let us think about straightness, consistency, harmony, freedom, receptiveness.
By Theo, www.artatsite.com
Vertaling
Fascinerend
De cirkel is de eenvoudigste vorm. Het is alleen maar een verzameling punten die op dezelfde afstand van het centrum liggen. Wat fascinerend dat er zoveel gebeurt met twee cirkels! Donald Judd heeft alleen maar twee dingen gedaan: een grotere cirkel leggen over de kleinere cirkel, deze grotere cirkel onder een helling leggen. Verder is alles hetzelfde gebleven: de afstand tot het centrum, de dikte van de lijn.
Ook fascinerend dat dit kunstwerk zoveel associaties oproept; vanwege de ligging aan de rechte lijn (de rivier), bij de grillige vormen (de bomen), op het grote oppervlakte (het grasveld). In hoeverre is onze habitat maakbaar: kunnen wij de stroming van een rivier be nvloeden, willen wij de grilligheid van de natuur uitbannen, laat de natuur zich onderwerpen aan onze rechtlijnigheid? Twee abstracte vormen laten ons nadenken over rechtlijnigheid, samenhang, balans, vrijheid, ontvankelijkheid.
Door Theo, www.artatsite.com
www.stadt-muenster.de:
The shape is immediately understandable: two concentric, concrete rings the inside ring follows a horizontal line, the outer ring runs along the slant of the hillside. Works that leave nothing to chance and have no natural features are called Minimalist . Each form is clear and immediately becomes an idea.
Here, the landscape provides two preconditions: the horizontal plane and the downgrade. The idea does not become part of nature, but instead, the circles stand alone in opposition as a topographical regulator in the shape of two concrete circles (Donald Judd).
www.skulptur-projekte-archiv.de:
Three dimensions are real space. [ ] Actual space is intrinsically more powerful and specific than paint on a flat surface , Judd commented in 1964 concerning approaches to volume.
Instead of spatial illusion, Judd demanded an immediate experience of his work, which also contrasted with the European ideal of representational sculpture.
His essay Specific Objects from 1964 is often read as being a manifesto for a new American art which rejects the significance of illusion and representational space as opposed to real space. Using painting as a point of departure and searching for ways lending colour a sculptural form that enabled it to act in space, Judd broke, during the 1960s, with prevailing artistic strategies.
www.skulptur-projekte-archiv.de:
As in much of his work, the rings likewise alternate between simple open and closed geometrical forms; the oppositions of beginning and end, solid and hollow cancel each other out.
Even though Judd always rejected Minimal Art as a description of his artistic practice, he is nevertheless regarded, together with such artists as Robert Morris and Sol LeWitt, as one of the founders of this art movement that emerged in New York during the 1960s.
The form and material of his serial and industrially fabricated objects bear a close relationship to one another. Such a merging enabled Judd to insist on the object quality of his pieces. Their potential interpretation does not extend beyond the object itself; they are not symbols for something else. His art was not to be representational, but rather invariably with the human scale in mind a physical experience.
The viewer is able to realise, that they themselves, in changing their point of view, the lighting and spatial context, create the relationships, and the defining of scale is a function of the size of their own bodies. Judd s works relate completely to their surroundings and the specifics of their landscape-topographical or architectural setting. The two concentric concrete rings in M nster are a virtually idealised version of the existing topography.
Text by Sophia Trollmann.
www.wikiquote.org:
Donald Judd, in: American Dialog, Vol. 1-5, (1964):
Any combining, mixing, adding, diluting, exploiting, vulgarizing, or popularizing of abstract art deprives art of its essence and depraves the artist's artistic consciousness. Art is free, but it is not a free-for-all.
The one struggle in art is the struggle of artists against artists, of artist against artist, of the artist-as-artist within and against the artist-as- man, -animal, or -vegetable.
Artists who claim their artwork comes from nature, life, reality, earth or heaven, as 'mirrors of the soul' or 'reflections of conditions' or 'instruments of the universe', who cook up 'new images of man' - figures and 'nature-in-abstraction' - pictures, are subjectively and objectively, rascals or rustics. www.wikipedia.org:
Donald Clarence Judd (June 3, 1928 February 12, 1994) was an American artist associated with minimalism (a term he nonetheless stridently disavowed).
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.
He is generally considered the leading international exponent of "minimalism", and its most important theoretician through such writings as "Specific Objects(1964). Judd voiced his unorthodox perception of minimalism in Arts Yearbook 8, where he says, "The new three dimensional work doesn't constitute a movement, school, or style. The common aspects are too general and too little common to define a movement. The differences are greater than the similarities."