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    © All Rights Reserved
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    8 views17 pages

    Marfa

    Uploaded by

    isabellpzprz
    Marfa

    Copyright:

    © All Rights Reserved
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    of 17
    MARIANNE STOCKEBRAND The Making of Two Works: Donald Judd’s Installations at the Chinati Foundation The folowing exsy wos prosented or olocure at the Could Insite, London February 26,2008 In the late 1970s, when Donald Judd started work on his most ambi tious project, which he loter named Chinati Foundation, he wos not conly rethinking the concapt of the museum as such, he wos also em- barking on his two most ombitious works of art, which were to be the culmination of his ertstc career. The CChinoti Foundation project was be- ‘gun by Judd in 1978-79 in Marfa, Texas, where he hed lived for the pas! five years and where he had ot ready turned two former aircraft hangars ond the land around them into his own private residence. This property is © complete microcosm in its own right, which—ike @ monasiary hos all of life's essentials, from an ‘excellent library to © chicken coop Unusvelly, however, it so has on ‘outstanding ort collection—predomi: nantly works by Judd himsalf—gen- erously loid out ond interspersed in ‘among everydey objects such as dining table, bed, armchair, music system, Judd wos exploring the con- nection between ort and lif: art be- came the heart ofthe household ond ‘each piece was placed with as much care os he would expect from a museum display. The fact is thet the ‘Mansana de Chinati—to give it its Hisponic nome—is a mansion aspir- ing to the status of @ museum. Judd ‘wos well aware of this, and made cll the relevant decisions with an fee to the future, While he wos sill alive, his creation functioned os o private home; now it Imestic museum, wh can view an impressive collection of ‘early pieces by him Much—although not oll—of the Mansana was olready finished ‘when the possibilty arose, through MARIANNE STOCKEBRAND La creacién de dos obras: las instalaciones de Donald Judd en la Funda China tga eseye fo pre ra Ainslesdalor oh 70, cwandoDonald Judd comenzabo trabojer on 3 pro ‘yectomésombiciono,elevalnombrera més ord a Fundacis Chino no slo Jab recosiderando ol concept del tmuseocomotol sine quecl mismatien: be donde nici ows dos bros ibs importentas, las evokes ionlacolminacén dese rare. uddampesssu proyeciode le Fundacién China on 1978/79 on Morte, Teno, donde habievivide du- ‘onto bio convertide ya dos consruciones ‘que entigvomenta x vseban come hon- ‘ere, juno con el terreno que las ror deo, ons residencia propia. Ete pro: piedod es vn micocosmas.on sty, come Unmonosterio, cent con todas los ne= ‘esidades bdscos ela vido, desde une tolinte colacibn de ore intepreda prncipalmente pornumerosos obras de ‘Judd mismo, colacades yexhibideson- tue objets deus diario, les come lo sistema de sonido. Judd randole conexionentreslarteylevidet he ‘gor code obra se coloceba cone mis: mo cidade que el arta huberoe radode unaexhibicién en un museo, De hecho, la Mansana de Chine es una moms qve copra oer loved i= vl de musee, Judd entobo bien cont lente de eso, tomé todas les deciio= dori oe comirié ono nh es corrnpondiones con mos ol foto, En vide del artiste, wv creo funcionabe come #4 cote porta hore fncona con le minme ficenci ‘come unmuteedombsie, ondénde los states puede onanie coleciin de lor primeros bron dd the Dia Art Foundation, of erecting ‘a new kind of museum in Marfa, museum which would be able to oc- commode largescale works made specifically for it. This wat the an: ‘wor to Judd’ long-cherished dream of creating something that exceeded the potential of conventional exhibi tion practices ond demanded more ‘ofthe ortist than a single work. Judd had been waiting for just such o challenge and the Dia Art Founda: Yion was prepared to provide the finances needed to realize some. thing truly great. Both Dia and Judd shoted ideals that were rooted in the Rencittance, ideals that they were not afraid to mecsure themselves ‘against, be it on a philanthropic or ‘on artistic level. For Judd it was important that his ort should relate to the architecture of the museum so that eoch—art and architecture—would both hold its ‘own and underpin the other. Ho had $0 olten been dissatisfied with the exhibition spaces in ort museums, ‘egarding them as largely unsuited fo showing contemporary art. How: ‘ver, his aim in Morfa was more than simply to create suitoble spaces—his ultimate aim was to unite ort, architecture, and nature in fan embodiment of his own philo: sophical oullook, which sought to ‘void fragmentation and to promote coherence, These had been the po- rameters for the Chinati project os & whole," which was to include inst lations by Dan Flavin ond John Gran porte tod surgi le opciénIpor meio de le Fu deci de Arte Dia] de crear une nuevo lose de museo on Marfa, que tv le copocid de ajar obras de gron testa iota ‘ie especie. Este ora la respuesta of se doredo de dd, de crear elgo ‘ue superara os posbildodes de le ‘xhibcdn rodicionaly que exgira ol rite més que wna timp ob, odd obi estodoesperando unrated notrolezo, yl Fondocén de Arte Dio ba lista pore preporiona efron: lamiente nacerria pore realizar algo ia-estabo ya terminode cvonde pecchnents pero ‘erdoderomente grandiose. Tonto io come Judd comportion dees oraige os on ol Renaciniant, rene @ los ‘icles 90 temion medise, tonto on a Plano filentepico como en lo se rlocionera eon te erqeiectra rmuseo para que cade ombortonto cre come le arqvitectora-mentivaron tu propia denied y el mismo tempo se complementaron mutvomente, En muchos ecsiones no a8 habe sentido acho con los especios de exhib lim on los recs de ore, pees les ve ta inodacuodos pore exhib ‘contempersneo, De cuolgvar mone, 1 propinito en Mara iba més oll de ton slo creor espacis edecuados. Su jst principe cons fe, la erquitetre y la notraleze, pe vision flo ce, lo cvol burcabe evil lo frogmen incorporando 5 foci y promover le eohorencla Estos Chamberlain as well as work by Judd himself. W's important to re member that the aim was not to ere- te a singlecrtst museum, but that the intention was that works by dif ferent ortists should enter into dio- logue with eoch other. Initially Judd wanted to restrict the work to these three ontsts alone, since he fel that it wae already hard enough to cro: ‘te the righ! conditions for instella tions by even jus three artists ond to take care of their work oppropricte- ly inthe long term. However, he was cclways interested in including work by additional artists in the collec- tion, and did so later on. After the break with the Dio Att Foundation in 1987, the collection wos expended to include work by Cloes Oldenburg ‘ond Coosje von Bruggen, liye Kabokey, Corl Andre, Ingélfur ‘Arnarsson, Roni Horn, Richerd Long, cond John Wesley. In this text, however, | will concen trate entirely on the work of Donald Judd, specifically the two ensembles that he conceived for the Chinati Foundation, The first of these is the series of 15 multipart works, mode from concrete and ploced outside in ‘an open field (il. 3); the second is the group of 100 oluminum boxes which now occupy two large spaces, formerly guasheds [ill. 17, 1p. 55}. The sheer size of these en: semble: means thet each wos a huge undertaking in terms ofits con: ception, realization, ond financial backing, and each took between = nanonon their intlocones de Don Flavin y John CChomberlan junto con los obras del propio Judd. &s importente recorder dedicado« a obra de ena sla perso on ditlgo entre les obvos de diverts aris. Incl ne, sno gue bi tment Judd quarts resringi al trabojo (ote rs eroador pow erla que yore bosinte dif eure los con lones doce pore te de cbrosde square res artistry dor olcion oa tobe interesodo en ogregorobros de las el montoimianto adacvt plato. De cclquier mode, ‘ros erst, y més edelonte Io co 008. Desputs dele rupture con le Fr dacién de Arte Dio on 1987, la calae clin s2 empl para inhi o tobolo teakzede por Coes Oldenburg y Coot is Von Broggen, lly Kebokov, Corl An- re, Inglfor Arorstn, Roni Hore, Re chard Long y hn Wesley. Hoy, sin emberge, me gusterio eno corms exchaivomant onl obros de Donald Judd, expacficomente on le dos entemblos que concibis pore la Fundacién China Et primero dello + une sri de quince obras multiport fas, hechas do concrete insta ie ibe ig. 3:0 eg 0 de cian coos de oluminio que chora ‘cupan des grondes especis, donde ‘nteriormente 16 ola ben armas 19-17, p 5) Elsimple tomate de ot tes conten tgailn pos code Se presentobe on vont © su concepcén,relizecén y refer. 0, y cade uno TRS 5a Se four and six years to complete. Judd hod never made anything even re- motely as large ond these projects posed unusval challenges in terms of thelr design and production. Al though they are similar in size—one G°0up consists of 60 unis, the other hot 100 units, ond took much the some length of time to produce, hov: ing been started ot the same they underwent very different pro: duction processes, which | will presently describe, They cast an in: teresting ight on Judd’s working methods in citcumsances thet were © mixture of chellenging and not for short of ideal The design for the 15 concrete pieces evolved in stages. Judd put his ideas down on paper in many drawings, withthe result that we are now in the position to follow his thinking step by step ond to under stand the relevant chronology since all but @ few of the drawings are dated. When the first contract was ‘agreed with the Dia Art Foundation in spring 1979, there was sill talk of ‘certain large-scale outdoor sculp- tures,” whose “nature and materials were yet to be determined by the artist.” Adobe ond concrete we tired as possibiltes. In addition, the agreement also states that the lo- cation for these works was yet to be identified and thet it was assumed that one work would be realized per yeer, with the contract to run for five years, Clearly much was sfill to be decided Judd’s fist handwriten note regard jing this project is doted August 980 iil. 1), in other words, roughly fone year afer the contact had first been agreed to. However, in the ‘meontime Judd had identified the lo ‘uate sis ofos en lerminorse ud asco habe bicbo bade 90) deol mogeiud ni rematamente; yo sos d dues y produccién. Aunque se ha Fost coterie UB wolanityaloty ad 100-4 lavaron ‘0 produces, babi es ol mismo tempo, estos dos obvos pesoron por proceses de preduccién ier dieretes, lox coals describe dentro de poco. Nos iominan vn os pect iteresonte de los métodas de trabajo empleodos por Judd hoje ce “anstoncis que presentcban retes pe retembin condiciones cot idea doko de las 15 plates de concrete ‘evoluiond per elopes. Judd plesms tv ideas on Ferme de 84 dibejos on opel, lo que nos permite chora se su proceso de pensamianto lope por spay entender lo cronolgie cor pondione, ye qu le meyora dels di bas estan Fechados. Cuonde se cca: <6 l primer contate con la Fendacin 4 Arte Dia an la primavera de 1979, se hoblbe devia de ros poraexterore a grenesale, cu ye oturlezay molriales debion ser de excol- ‘os trlogolorr. Tres ats fecionge- lores forman un tidngula: ls puntos ten ye varias indicoe ‘el ritnglonix cles co yen to forme fundamental-s extenden mas lls de lor reséngulos. to cvestion de les distencios entre los elomentos-ya in, eral poracer yo se ha deciido ue los rectingules hebian de qveder fre dal widngule, civcdiendo uno de los lodos de coda rectongule con no de fs lados del wingulo. Ala mi ted dele note, en vno dels mérgenes, hay dos rectingulos pequets une ol lade del ov, con lx plabras “prime: 10" y “luego” seguides de un Wienguo. so linea he sido tochodo y reempla ada con une nota setelando gu primer clamente deb sr on trig Ia. a ercara hoa ig. 4) mueste ne womente los mismas dos confgurocio: es, cungve choro la Figure bipertit. realized. The disionces between the ents ore noted os 1.25 and 2.5 (3 in the finished work. The distance from center to center is marked here as 200 feet or 70 me- ters, but there is also a number “60° under the 70, even if it is upside down. The elements themselves ore marked as 5 meters long and 2.5 meters deep. These measurements seom to have been decided very early on, for there is only one isolat- ed drawing with different meosure- ‘ments, and this is clearly not role- vant to Judd’s thinking as @ whole. It is interesting that Judd chose to work here with the metric system—even though he measured his concurrent ‘aluminum pieces in inches. The late 1970s and early 80s was a transi- tional phase for the artis; although he wos using both systems of mec: surement at this time, he was veer- ing toward the metrical system, which is broadly specking « simpler system thot makes it easier to calcu late relationships. With just @ few exceptions—such os the socalled stacks and progressions, which ore based on measurements established in the 1960s—from the early 1980s onwards Judd coleulated his works, particularly ony new pieces, in me. fers and centimeters. The concrete works at the Chinati Foundetion are the first piaces of this size to be con ceived using the metric system The firs two works were made in fal 1980 [il. 5). The 25-centimeterthick slabs were poured ond set But Judd was not satisfied The execution ofthe pieces was not accurate ond by ne means lived up expectations. His main crite “commer not square; “corner of top longer than side"; “seam rough" “crack ot 1p lorge ond uneven.” Summing up his Findings, he com mented: “The biggest concern is the uneven length of the slabs ond the corners not being square. Second is 1¢ chips and scuffs coused by core- less handling. Third is the lorge cracks. 1 ond 2 con be solved by rece core, oF can 3, by srongr Immediately following the meking of the first two work, Judd turned his ‘angle at @ bosic form retains its in terest for him, even if he does olso try out @ square formation in poss: ing ond experiment with linear of rightongled siructures—using "U" ‘ond "T" shapes. These drawings provide litle information concerning he indicodon come 1.25 2.5 metros, como qvederen on le cbre terminode, la dstecio de cone @ Imacode aqui como 200 ies 670 metros, pero también hoy wn timere ‘60 inveride debojo del 70, Las laments po st mismos estén mor codes con 5 wales de lngited y 25 metros de profundidad. Parece que antes, ye que hoy sol ‘mente un dibvj eisledo con medi diferentes, y lromente no entra en a plon glabol de Judd interesante que Judd hoy optode por tabojor con ol sistem mérice,oungue midi ss pie 205 de cluminio en pulgades. El final ‘de le dacodo de los 70 principio de los 80 marce un period troniionl pore el artite: congue estaba ulizon do ombos sistemas de medi, soos taba incinando més pr el sistome me treo, que #3, on gone ‘més sencillo que Foca el ede de las relciones. Con pocos excepeior rner-toles como los llamado montones 1 progresiones, los cuales se besabon tn medideseneblecides on la décoda los 60-, parte de 1980 Judd hace ‘us cll, particslormente en el cose elas obras nuevas, en metros y cat rtros. Los wabejos de concrete on le Fundecisn Chieti son ls primar pie 108 de este tomato que se coniberon tilzondo el sisteme mético tos dos primeras obras fueron he hot on oto de 1960 (ig. 5) os plonchos de concrete, de 25 contine ros de gros, fueron vertidas y pre principales ts squina no cwodrade qvne wperior ms lrgaqueellade “unre desig “arita grande irregular en la parte superior Resumiend sus impresones, coment El principal probleme es fe longi’ inreguler de los plonchos, los esqu cevodeades. Ht segundo Sones grandes grat. ELT yol2 pus den sr solcinorse con un mayor cok dodo, 3 mediante ol use de mole Inmediotomente despots de reolzor tas des primeres obras, Jedd His 50 tencign on lot siguientes plexes. tring como forma besiee save slando av referencia, eunque experi ‘mente de pase unafermecién on forme de euodeodo con estructras inales 1 con un éngulo reco, wsande formas de “U7 “1. Estos dbujosproporco: the openings on the individval vol nen pecs inermocién acerca de las | cloments directly abutting each oth- manos y que invelucre nvevame umes and how space is fo be orga obertwas en lor volimenesindividve- | or. On the upper hol of this sheot wed nized among them; in general the ‘ore four works which correspond totes alamentosespaiodos,clgunas en thick lines indicate walls while the numbers 3, 4, 5, and 6 of he Final cima yelgunas a lado dels otros. En ‘hin ones indicate openings. Some- gruesas indica poredes, mientos ue | series. These alternate between Ir otra configuracén al lado derecho de Himes it is borely possible to distin- lar dlgadas denoton aberas. Ex al- | angular and rightangled configuro- se oprecian cuatro elementos uith one from the other. Therefore, qunascesiones apenas pueden dis- | tions, with the volumes forming the it seems 10 me thot at this lage, tinguiewnas de otros. Por lo tonto, me | triangles clearly open on the long Jidd's mein interest was in the con- parece que an sta ape, al interés | sides (on the left] ond closed toword figurations, which would then deter- principal de Judd se centebe en les | tho conior (on the right); meanwhile mine where individual elements configuresione, lo qve dsterminerio | Judd was still doboting the exact po- ra. Estas eheman entre configuroci- should be placed. There are just @ més adelante en dinde debion ser bi- | sition ofthe other two works, consid- nes wiangulares y de dngule rect, few indications that other types of in- cadet ls elementos individuals. Exs- dividual elements clso entered tha ten stle unes coentes indicarines do | [EE frome; for instance, in one drawing ete indbi doles 4 @ reclongle is open on two sides— come po: ne shor side and half of one long iol, namie i side—and tothe let ofthis, where jo de 176, donde un Iwo such rectangles are combined, connecting at one comer and no Inder-wnledecertylemitod de wn le longer clearly distinguishable as in- de largo, y @ le ixquerde dividual elements. There are also ex. donde se unen des recténgulos periments with right angles, using tipo, tacéndose en una exgeina per= Simple and double Lshapes, which diendo su identided come laments finally interlock to create © continu- individuates. En la perte superior dele sen fous xquare, Thare are more square mime hel bey experienc rrongements, but Judd later come gules racer, wand gros verily to the conclusion that he couldn't blr on forme del loro rake squores Feretecinastre aces In March 1981, Judd made the dred continue, Deoje de te, . . . breakthrough 10 the next group of ete «wodrede, pero més torde dd Mts Hotodicedourdtkhnot iipbalvocinus argue rca | 2 AA Bet ceed iain Weer neocon Y Bee cua tush Weiter its (kisim ta eae oe sides of the triangles now all have 1981, Judd pote a trabojar en el si- fone end open and the other closed quien grupe de obras. Rela cuatro 2 (lf, or they are open on both sides bjor de los wisnguls de degulo g : (lepl, or open only to the center of ogede fig: tes volimenes reconge- the triangle (middle), oF closed to Lares queformen os lades de as wian- the center and open to the outside gulos onen un extreme aber y a [botiom). In another drawing Judd ote cerredezqiordal stn abier- turned his attention to the progress tor de abot lados (parte super, 0 «of one configuration to the next (ill. hiertos silo hacia ol contro del 7), and came to the conclusion that trdngule (part deen medi) erro: ‘a second triangle should be added des hacia el centvo y ebertos hocio fo the two existing works on the for efvere (parte inferior. En ora dibuio left, ond yet another triangle should Idd examina le progresin desde una be added after the five-part linear coniguociin le prime (i. 71 y piace. This last rangle is closed fo- lege ela cencsion de que debe ogre ward the center, while the first rion- gorse un segundo Wingulo alos dos Bacio he covet ioc ira canard feces per | ly Judd was not entirely certain of de, y edavie etre tidngule debe agre- 7 ies csarctlonnalseeroimeiomean re ulcpemcra es O : indicates, but we know that it re- co parts. Ext dime tridngulo ess rimer isngule este ebiete hocio fon repeated shapes with alternate: canto. udd no estabe del odo seguro Me ly closed and open forms; we also de este secvancie, come lo indice un 20 these in simple and double signe de inerrogacién, pero sabemor rows, without interstices. These be- que se reoixé de esta moners. Resta come more concrete in the nex! —inarsonte también comprobor, an sawing (il. 8] in © work consisting to hej, lr dbus dedicodor oa re- oF five eloments, which again takes petcén de formes de “1” con formes up the idea of an Lshope, but now — cllemodamenteabiertes y erradas y With three elements plus interstices, on hilar senciloso dobles con 0 sin obove each other ond beside each expacios antes ston se vaehon mit ther. In another configuration on tangible ano ibe siguiente a 8. the right ofthe sheet, there are four en una obra que comin en cinco lee ing whether they should face the left or the right. Inthe end t configurations remained as they are he In the summer of the some year, these four works wore realized, so thot the series now consisted of six pieces, with irregularly occurring ‘pen and closed volumes. | have not managed to discover from these ma- terials exactly when Judd decided con the four types of individual ele- ‘ments that constitute the complete se- fies of 15 works, but it seems likely to1me thot, atthe latest, it must have been when he was working on this second group, although it is not im- possible that the four types existod from the outset? Al the single elements for all 15 You cm PAAawD pieces share the some dimensions: 2.5 x2.5 meters (height x width) x5 meters in length. The poured slobs ‘re 25 centimeters thick ond joined jn such @ way tho! the vertical slabs contain the floor, ond the ceiling &x- tends to the outer edges of the ve cal slabs. This is the some structural system that Judd used for oll his fr standing works, and which we will fencounter again in the mill alu ‘minum works. The individual ele- ments come in four types: one short side open, both short sides open, ‘one long side open, both long sides open. As @ rule, any one type is used throughout © piece; there ere ‘only four cases where two types are combined.* When these four works wore fin ished, detailed inspection again re- vealed inaccuracies ond sloppy workmanship. There wos litle hope onde Ios volimenes que formen tringoles oberon dal ldo large fl laquierdelycerrados hacia! centro Je derecho. Mianires onto, Jud toda iano decile poseldn de les tres bras, debotiond sl olocoroshe- ole inguiarda ola derecho sos com Figuraiones etcbaron por como ein oq. Enel verano del mis tro obros fron realizado, a serie (cos crs os bs Pet cae manos cbiriosy cerrados sin ptrén regulor No he podide desc tte on estos motile, exactomen cotndo Judd tomb au decd on cam to alos curr tipos de elementos ind- vidvolos que consttuye lo serie com> plate de 15 planes, pero me parace probable que, © més torder, debie he unnau ber sido cwando rebejabe en unde grupo, vague no sera imposi> le que exisieran los evoke Hpos desde um prncpi.® Tedos los elementos individvaes del 15 plazas comporten lot mismos d mensions: 2.52.5 mato de ato y be onche) y 5 matros de largo. Los ‘plonchos de comune tenon 25 cont: rtros de grotry se junton dee or- plonchos vrtiales contier rena pio, eltcho so entiende sto los bordes exteriors de esos blogues vertcle, Eso 6 fo misma estructura que empleabe Judd para todos sus bcos “freestanding, la enconrore: ‘mot nvevementeretindose de ls pie: 208 de olumini cepillodo Los elemen tos ldvideces son de ever 1d corto abiete, ombos lodoscortos cierto, wn ldo forgo aber y om bot lados logos oberon Em general, 19 vilize slo une de esos pot an une of a more expert finish within 0 ra: divs of around 200 miles from Mor- fo, 10 0 specialist was imported from Dalles. His report first ident- fied the artis’s expectations: “The design colled for close tolerance fabrication with straight, rue align- ment having concrete pieces obut- ting and no spacing ollowed for joints,” a8 he put i in the preamble. In addition, he noted thot “the con- crete finish was to reflect the ply wood forming grain and texture.” The report concluded, “While the completed pieces generally op- peared to meet typical industry slan- dards, it wos apparent they did not ‘mee! the design intent.”* He then lis ced the graves! defects: “Observed pone! edges ond sides cast out of square. A limited number ‘would not meet industry stondords.” "Joints varied considerably, ranging from desired abutment 10 3/4 inch- “Plywood grein reflected in the cast concrete varied excessively..consi: erable overall color and texture vari ations were noted between panels.” “Excessive blow holes were noted cpparenily resulting from consolidar Vion techniques.” The expert report closes with o rec: Commendation to continue producing itso to. making considerable. im provements above all in the propo- ralion of the molds, in the prepara tion of the foundations, ond by ‘achieving greater precision in all de- tail [At this point, more than yeor had soa piezaexsen slo cura coon en ipo Coondo a0 erminaren ties cvsto bras, uno inspecién rigurese revald rnuevomente le fate de pessién y los detects de hechura. Carea de Marfa nehebia pertonarcopaces de producie un ecabodo profesional, asi que sere- crri.oun expert qe lage desde Do- las Ena prrmbulo del informe pre= parado por dite se confemen los inleciones del ert: “El dna xt- ia wna hechura con peee tolerance, tune alneccién pri con plezas de concrete ques junon sin epocis pe ques combinas Ajo latetura la veto dl ipley”- £1 Informe lags 2 lo conclusisn de que oungue en geero os es pracion complircon les norman de le inden, qued8 polote que no om ls intencones del ter." Acontnvacin numerals daec- “tordesylados de ponees fered es ‘rodeo, Un nimere redid de ts 0 Uh ic a at ain i oh ow to0 blatantly, it seems that this final crescendo of the series comes to o sounding close with one almighty l'on the timpani. We should beat in mind that the land opens out at thie point like a pair of scissors (see ill p. 3); that isto say, the distance between these lost pieces and the buildings of the Chinati Foundation (which follow a curve) is much {greater than that of the first pieces in the series, They are ot impressive HTM Er serie estenorantodoshocia 08 de China y, om mas gue on los 220s inarioey, estes cies evo puede dcise que Hanon un ago fom to @ “ino fo coal eval 3 poten ‘ol pora produce one inteaccin de lun sombre més dramétice desde le iow que desde caro, Nos perclomes ero une peri refaont,Duronte lon mass vnidaros lo o finvoren para encontrar un material ‘convenionte pore negocior los detar roducisn; mientras tanto, Judd tombin efi el concept o Inicilmente tenia en mane vn grope 14025 piezos dao primavera de 1960 el Imantodo © 70 u 80.’ El renovede com trae del 1 de mayo de och ot tool da 75; tlie lebion ser instaledes eno wifco peo andes posteriores del 4 de unioy ol de gost se rafiren 86790 pesos, respectivomante I negundo docomen: to stiplobo que eteees ‘mode pore no definitva™.*El siguiente rere im neve confrto ve reals ave nos" y por primera ver hate efrendla 0 w istolacién en ls dos elmactnas ol aporte del is Aivertos amotio de os dos eifiis y poredes de potiura ene spor retener cierto expacie pore realizar cvalaviercombio de hime momento. do, Enbrily mays de 1980 Judd db 1980 the total had risen to 70 or 80,’ The renewed contract of 1 May 1980 refers to a total of 75, stating that they are to be installed inthe in tended building “ond in whotever additional space is necessary.” Later memos of 4 June ond 8 August refer 0 86 and 90 pieces respectively, the latter with the proviso that “this figure is close but not yot firm.” The following January @ new contract was drawn up which refers to "100 {eculptures more or less” and for the first time olludes to their installation in the two former gunsheds. With that the artist's side of the project was decided; the slightly indecisive more or less” hos its roots in the dif- ferent sizes of the two gunsheds, their differently sized entrance hells ‘and differently placed par walls in the main space. Judd clearly ‘wanted to retain some room for mak ing any late changes. The design of the oluminum pieces had long been decided. In April and May 1980 Judd drew o total of 75 configurations in two batches (ills 18, 19), which were soon followed by another 13;° the remaining 12 hod to wait until May 1984, The First sock of drawings predominantly tues configurations that hed already been tried in other ensembles, specifically in the 15 plywood flocr. pieces from 1974-76" and the cor teloting wall pieces from 1978." Those include half ond full subdivi sions 08 wel as volumes without ony subdivisions. These are some exam: ples: half-divided, fully divided, not divided. OF course i's possible to place half divisions vertically, hor! zontally, or diagonally, and either to have them run from the center to the shor! side or to the long side; simi- larly they can run from front to back or from top to bottom. The some op: plies to the fulllength divisions, even if there are many fewer variants of i6 un frat de 75 configrociones on os ltes las voles fron seguidas on rove por otas tce” fig. 18,19) doce resonts debioron esperar host ‘moyo de 1964. E primer montin de di os empleo predominontemente com de los cuales algunas yo pacticomente en ls 15 piezas pore ino hachor entre 1974 y 1976% y los 220s de pared de 1978." nes medics y ‘900 subdivision. Agul hoy egos siomplor: de madie divin, de divi 2, sin division, Dosde ue mismo modo, pueden corer desde frente ola porte raserao desde orribo hay muchos menos po. Adem, es posible que no existon ‘stones on obaokt, bo que pede i siones sencilas y dobls, tomo en el ‘coro de povees prpendiclores como visions, divi Hones complats,y une distancia de & plgedes ton ls wes constontas tos plete: Eso su ver ‘urocones especies, tl de dobe pored. qe pueden ‘er roposiionados oun ef horizon talyo 400 cerodas 0 abies tengo a parte superior leveda 4 pl ‘godes. Lot paredes loerales pueden foxcinanes partir dels combine see8 SeSSERTRESEB BEE | SaeeRSaa8 BeGSHSeSSEEREEE this type. In addition itis also possi ble to do without divisions altogeth- fr, which produces the fewest vari: cont of ell. But then Judd introduced @ smell complication, and combined single and double divisions, both in the cose of perpendicular and diog- onal panels. The distance between these panels is always 4 inches; half divisions, full divisions, and o dis tance of 4 inches are the three com: stonis in these pieces, This in turn generates special configurations such as the dovblewalled volumes, which can be repositioned on @ hor zontal oxit—either closed or open, fof their top raised by 4 inches. The side walls can also be set back by the some 4 inches, as in the case of the short sides, or all four sides con be set bock, or just the top side. Por ticularly intiguing divisions arise from combinations with diagonal di visions, when the dividing panel be- gins in one corner and finishos 4 Inches away from the other, or when there is @ 4.inch gap on both sides 0s con divisions diagonaes cuando 1! pone! divisor comion ney termina lhe ‘en ombor ados. Entoncs, el panel dor be también puede morer el centr, © puede extender desde ol centro de le ‘erquin, 0 crear un espe ‘ombos lodos fig 20,21). Code una de 3 iterees porciones lero ol 6x de os divisors, lo que creo 30 ver nuevas stediones espcioles ue biertos 0 eros y-lo que os més impor: tanie-illson las as de manera ci te, Deperdlande dele posicion del sl, éngulos obnses tbs coror més oscuro pero en ge los ms angostes son més osu ‘as, Ene estos dos extremes hay une voteded infnita de matices onl liados de pote y tombidn reijan los colores (il. 20, 21). Then the double pone! can alzo mark the center, or tun from the center of the top into one corner, for come to @ halt 4 inches eway from a comer, or create @ double gop on both sides. Eoch of these dif ferent positions clters the angle of the dividers, which in turn creates new spatial situations thot can be closed, open, or halfopen and which —most_ importantly reflec! light in different ways. Depending con the position of the sun, these more oblise or more acule angles or dorker, but broadly speaking the wider, more open or fe0s ore lighter and the narrower cones are darker. Berwoen these two fexemes is an infinite variety of gr: dations in the most delicate silver: gray tones. Since the panels also re flect the surroundings, they reflect are igh the colors of the grass, the sky, the ‘roe, and the rising and setting sun, to that the colors of the installation ‘ote in © state of constant flux. Notu rally the orange tones that come ‘with the evening light are spectacu lor, but itis the ordinary daylight thot brings out most clearly the sub- Hlely of the materiol ond the forms including such fantostic sights os @ dark volume with a band of light, or the dark tunnel between two light ya solide y poesto 1 dele el ol do manor que os insalecin stn on vn eoade de ante combio. Netrclmente lot rd ‘comin ycorante lo que hace resaior mts carom icadera dl mo tnlaly delat formes, ncuyendo vist cure con una fraia del, 0 o tne vcore errs des volo Banos de lux los prismétics Hanis verses 7 rflectores ve ton tan confves te dable rfl. Estos expects ton Aiterenis 0 devivon del exrctom Tinitode juego de heremientos on ive yang soars nibon woot Wislones; sions completes y © a de 4 pulgeder. Cie poibidades fueron dead re clizados, podemes suponer gue mu hos més existe pro no feron de in is pare add, Con cen vorants, cristo habia crsedo yo une inmensa ‘pome de poubildeder, reste inte ‘experimenter lo qe significa evande ‘rodes,cwando un vlumen se obre de la pore superior delesledes,cvondo une pared se desploze unes cvanlos prulgodos,coando um bloque 10 divide filed volumes, or the prismatic, re flective vertical bonds that are so confusing in this double reflection These very different appearances derive from the stritly limited sot of tools of horizontal, vertical, and di ‘agonal divisions restricted to half di: visions, full divisions, and the con: stont distance of 4 inches, One hundred possibilities were devised cond reclized, ond we can ossume that many more exist which were of no further interest to Judd. With his fone hundred variants, he had ol: reody creoted o huge spectrum of possibilities, and it was interesting to see this potential realized ond to experience what it means when on tangle is incrected by a few de- grees, when o volume is opened at the top or the sides, when o wall is shited by a few inches, when o block is divided equally or unequal ly, and what it is to eeinforce oF to blur these spatial solutions by allow- ing the light to fall on them in a por ticvlor way. But | om getting oheod of myself here, ond wont to return to the design process concerned with the architectural adaptation ofthe build Ings thot ware to house the works, The original choice of ste, the wool ‘and mohair store in the center of i DEP hy ae tiie enftizor © stever estos solu rma igual © deigval. yo que sy nes espacio per tiga en ellos de une mone porter. Pare not sstomos edelantondo, debe deine laodepte iin exqutetica dels edifices que foeron sodos pore alberger le abe jos Leelee do de ono y moh tide rochorod 9028 eifcies pore bicodor on allogor que oe orgie dl sitio. oon na cero, habla .A.Rustl, ohera abandon fuer de Marf, donde se encoentra nba Fandocién Chief, Doc es bistros evesron dn ol lot argo panos con pequeios is ls lados argos, ue llegar ol vel fg. 25). Lot pore ‘stn hechox hot son de concreto, Clumnas decor feces. Ambos edi los de ancho, pero ne illo, yo pissy (onl cow orn olienal 7m Piso de 18,000 pes evedrds, mien 10s 17,000 ples cvadrodos or dos efor de lmece noje de ermot u terminaron de cone truirn 1939 ytenion cob pora 34 Judd hace dot cleracions signa 08 alos eificies: quit los puaron de town, had been rejected in favor of the two former gunsheds on the grounds of the then empty Fort D. A Russell on the oulskiris of Marfa, where the Chinati Foundation has ite home. Historic documents show two long, flo! buildinge with smallish windows to the front and large ‘openings with small glass panels on the long sides, reaching right down to the ground [ill. 25). The external walls are made of brick; the floors cond the ceilings are concrete. Con- crate columns support the ceilings Both buildings are 63 feat wide, but fone has an extre bay, with « floor space of 18,000 square feet, while the other is barely 17,000 square feet. The two gunsheds were com pleted in 1939 and had room for 34 ‘ond 32 trucks respectively Judd made two significant olter tations to the buildings: he removed the doors on the long sides and re- placed these with windows with cross-shaped spars, and he covered the flot roof wih @ curved corrugat td iron roof (ill. 24). Otherwise the buildings were let in their original state. The floors ave sill uneven to: doy ond the doors only close with some persuasion. There is striking contrast beiween the roughly fin ished buildings ond the precision of the ort works, raising the question of the supposed preference of the so: called Minimalists for © “white cube.” This preference is @ myth The white cube was never Judd’s preferred option ond his own praxis utes ony such suggestion. None of his buildings has the slickness that’s common in designs nowe- days, which is equally alien to the buildings he renovated for the Chi nati Foundation. Whot they do have is clarity and coherence. Judd hated confusion, During the first yeor thet he wos planning @ large-scale installation of aluminum pieces, oll sorts of ideos ‘were evolving in parallel. Most ofthe pieces were designed in spring 1980; at the same time the doors on both sides of the gunsheds were removed to make way for windows All summer long these new windows occupied Judd's mind: different firms wore invited first to make @ prototype window ond then to put in e bid for the whole project. After numerous discussions concerning the produc tion of these fourpart windows with anodized aluminum frames, finally in spring 1981 0 firm was contracted to produce the windows and sliding doors” for both buildings. These wore put in between summer 1981 Seceeass br ltecho plana com hero curveade _ycotragede fig. 24). Polo dems, los se hon quedodo on su witode ‘sfuereo. Hey un contest sorpren dente ene el dspere especte de ls edilicios ya precision dels de orte-plonteondo la cuesisn de lo supunstaprlerencia por parte de los omados Minimolisos por un ‘cabo bianco’ ste preference es un mio. E tient ext vero, Ninguno de uta ficios ni de fos renoveciones que hizo oy concerto, blogues formas cboves ‘dodos, ronsparenciay eas crrode lazy sombre expaconnaturlesy con trades Jd, Yon sensible los espe cosy tn copa de percbire interpre terlon con tanto precsién-respondio conte lo poerzacin dels eee longiv= inlay otdincles. Dishing entre ‘leje dodo" yl “je principal” aie longitudinal roel je ded menos incipal se extend @eves de lo pored de vidio, através del especie terior plone y anche, y hate afvere& de lo segunde pared “En og conrespecoa! idea de does perpendiclores qv, por ser igulment inportontes produ ‘condos éngulos devise iguolmentevé- dos, habia consivide un fundomento le xcltore desde files de ls of 60 0 antes: per donde al pene fied aesthetic entity of works ond space,” 0: it was once described in the contract with the Die Art Founda: Inside the space, Judd responded to the existing features ofthe buildings ‘ond took into eecount the pattern on the floor ond the distances betw. the columns when it came to placing his sculptures (il. 22); he did noth ing to the partion walls and the protruding sidespoces in the en- trance hall, although these ore ot ‘odds with the chythm in the main hell fond required o separate installation scheme. The installation of the alu: minum pieces in the main space is oriented longitudinally toward the central and side naves created by the two rows of columns; latitudinal iy iis oriented to the bays, each of which contains two windows, Thus the floor space is divided into three lengthways and into four loterelly, ie, each boy hos 3 times 4 squares, of 9 times 4 ocross the full breadth ofthe space, On entering the hall, one is met by the sight of three long rows of sil very, shimmering boxes,"placed ex cctly atthe center of the three naves ‘and positioned one behind the other in such @ way thot there is always fone square of floor free betwoon them. Lateraly, they always relate to cone half of @ window ond the rele- vant square of floor, which means that they deviate from the center of the lateral axis. Bot what strikes one ‘most powerfully in this arrangement is the multiplicity of sights generated by this one type of sculpture. These somesize boxes appear os multfar ‘ous as if they were constrained nei ther by ules nor principles. Their sides can be open, as can the ends ‘the tops, with light slits oF dork ‘channels, gleaming like mirrors, u settling in their configurations with forms seemingly dissolving ond evoking illusions of prismatic reflec tions. Alhough their construction is purely factual and the relevant de- fails plainly visible and not manipu- lated in ony way, they are neverthe: less mysterious and resist rational ‘explanation, During the installation process, Judd had token care to ensure that difer: tent kinds of boxes were placed di: teclly nex! to each other so that this ‘optical multiplicity would be immedi clely apparent. He resisted the no- tion of bringing together all the hori zontally divided shapes, for instance; he always viewed seriality ‘08 0 chance to develop the potential ‘of « form. His systems were strictly Interior dal eifcocon la arqebecro ue lorodeey culmina er une “ended sticounificade de obrosertsicsyes poca" om olga vr se describ an ‘coat conla Fundacion de Are Dia Dentrodslespaio, uddrespondisente nents de ore paren delpso los ditoncios ante lescalumnesoleo locar sus excauros fig- 21. No rea combio al nialosxpecossobreslientsonolpo sila de entrode,ounque ets dosent ton comet ito dl an principal yr ls predes dvisorios quiron un esqueme de istolocén ‘Steen. Laintolacindal ‘pace principales oriented longtdinaimon inves central oterle heats des hier de colamnas: ltd mone est oriented ha res, cools Hanon dos vertonor cod uno. Porlotonte especie del pita ei6 Aividido en tes porlolargey enrespor locncho, o decir, cada mirodor evento concvadradosde.3x4 pies ocvodrodos 2 Pxdeniodolaomplivddesu ére Aleatroral lon, uno dvisatees tileros de destallontes cols poteedos, coca tres nowes, na dete del ota, deta os mrad exectomente al centro d hay un evedrodo Leteralmente, el pis bre ene siempre ein on rlacién con Ta mited tole mésimpectonte dessa dspeviién de clomentos sla mulipicidad deve ‘tre Estos os, todos dal misme te treo, porcen fener mitiples formas ‘como sin etvieran sets regs nh «© prncpios, Ses lados pueden estor birt, cs como series, tes sopeiones con fronjos de lx 0 x: noes oxcuros, bellando com ‘A pesar de que 3 construcién puromente cbaiva y los detales mas impertont ton clormente visible, solgvar menipuacién,re- sultan misteriosesy se resisien ovo proceso de Io instolacén, Judd se habe esmerade para que cols de forentes ips foeron colcades di rectomente une an seguida del or, poragve ese mulipiided Spieafver peractomente evident Se resists alo idea de junto todas as Figures divi dot horzontalmente: por ejemplo, slampre concibié las sciences como, une opertunidod pare deseralloralpe omdidectic. During the design sfoges of the aluminum pieces, he hod ensured that opproximately the same number of boxes were open ot the sides, the ends, or the top, ond he mingled these diferent versions in the hall 0 thot the light could re froct in the ensuing angles and cor nets, transforming their infinitely clear structures into mogical mo rents of amazement Tansee rm Gaon by Fava Eo Nores 1 nthe ery yrs, war refered nether she "Marfe Project” or The Ar Muse tm ofthe Pacor" 8 wos oly in 1987, of ter odd ond the Do Ar Foundation won! thee separate ways hte name “Che eli Fomdation/La Fundacia. Chiro” ro irodcad 2. “Cent mateo unr” noted no iow Febru 1983, Inti cove, my racing lhe previshy resond elements with openings onthe thor aide ond on half of he Log side ot b mise, 4. The work in uation ate wo. 1, 7,13, 5. Those and he oliowing quotes ore ram © later witen on Jy 1982 by Raber ik, Archie Concrete Asocofon he, Adon Teas, The wok in queso iO 908.7876, n sled nthe Montara de Chi 7. Nova fom Dudey De else, etd March 1980: “Ey dacsins of mil ele minum wos for Do pret c. 25 were

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