Donald Judd Quotes

The better artists are original and obdurate; they're the gravel in the pea soup. ln Jackson Pollock's painting the particularity, the immediacy, is the dripped paint, which remains dripped paint as a phenomenon, for all the beauty of the small shapes it makes it makes. The generality is in the scale or proportion and in the large shapes. It’s in the appearance of chaos. The gesture or the motion shown in the application of the paint varies from painting to painting from the particular to a middling generality. The size and the color generally occur in the middle between particularity and generality. At the same time as Pollock and since, almost all first-rate art has been based on an immediate phenomenon, for example the work of Dan Flavin and Larry Bell.

Usually when someone says a thing is too simple they're saying that certain familiar things aren't there, and they're seeing a couple maybe that are left... But actually there may be... several new things to which they aren't paying attention. These may be quite complex... They may [also] be read all at once. This is important to most of the best work going on now. It has to have a wholeness to it that previous work didn't have, but still, within that, it's not all as simple as [people] say.

I object to several popular ideas. I don't think anyone's work is reductive. The most the term can mean is that new work doesn't have what the old work had. Its not so definitive that a certain kind of form is missing; a description and discussion of the kind present is pretty definitive.

I think most of the art now is involved with a denial of any kind of absolute morality, or general morality. I think most of us in one way or another are involved in ideas of a fairly loose world, however it's expressed, whether obviously as in Chamberlain or just accidentally, or, oh, like Newman.

A work can be as powerful as it can be thought to be. Actual space is intrinsically more powerful and specific than paint on a flat surface.

I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new. I didn't want to get into something which is played out and narrow. I want to do as I like, invent my own interests. Of course, that doesn't mean that people who, like Newman, still paint are worn out. But I think that's a particular kind of experience involving a certain immediacy between you and the canvass, you and the particular kind of experience of that particular moment. I think what I'm trying to deal with is something more long range than that in a way, more obscure perhaps, more involved with things that happen over a longer time perhaps. At least it's another area of experience.

Obviously everyone is going to prefer kinds of art. I prefer art that isn't associated with anything and am tired of the various kinds of dada, and don't think, for example, that the work of Johns and Rauschenberg is so momentous. But it's good and I'm not at all inclined to rank them below every last abstract artist. And I know that their work has connections to so-called abstract work. (I don't like the word 'abstract'.) Or, I think American art is far better than that anywhere else but I don't think that situation is desirable. ** Donald Judd, in: Studio International, vol. 177, p. 182: As quoted in: James Meyer (2000) Minimalism. Vol 60 - 83, p. 245

Material, space, and color are the main aspects of visual art. Everyone knows that there is material that can be picked up and sold, but no one sees space and color. Two of the main aspects of art are invisible; the basic nature of art is invisible.

The history of art and art’s condition at any time are pretty messy. They should stay that way. One can think about them as much as one likes, but they won’t become neater; neatness isn’t even a very good reason for thinking about them. A lot of things just can’t be connected.

At that second exhibition I had to peer into them and look through the grayed color and wonder what it would be like not gray and then wonder what the forms would be like not crabbed by the figures and trees.

Four years ago almost all of the applauded and selling art was New York School painting. It was preponderant in most galleries, which were uninclined to show anything new. The publications which praised it praised it indiscriminately and were uninterested in new developments. Much of the painting was by the "second generation" many of them epigones. Pollock was dead. Kline and Brooks had painted their last good paintings in 1956 and 1957. Guston's paintings had become soft and gray — his best ones are those around 1954 and 1955. Motherwell's and De Kooning's paintings were somewhat vague. None of these artists were criticized. In 1959 Newman's work was all right, and Rothko's was even better than before. Presumably, though none were shown in New York, Clyfford Still's paintings were all right. This lackadaisical situation was thought perfect. The lesser lights and some of their admirers were incongruously dogmatic : this painting was not only doing well but was the only art for the time. They thought it was a style. By now, it is.

The furniture is comfortable to me. Rather than making a chair to sleep in or a machine to live it, it is better to make a bed. A straight chair is best for eating or writing. The third position is standing.

Half or more of the best new work in the last few years has been neither painting nor sculpture. Usually it has been related, closely or distantly, to one or the other. The work is diverse, and much in it that is not in painting and sculpture is also diverse. But there are some things that occur nearly in common.

The main qualifications to the lesser position of painting is that advances in art are certainly not always formal ones.

The main virtue of geometric shapes is that they aren't organic, as all art otherwise is. A form that's neither geometric or organic would be a great discovery.