Ok catching up on Judd stuff. The Donald
Judd: Delegated Fabrication Conference
is this next Sunday and with Robert
Storr, Arata Isozaki, Peter Ballantine and Portland's own Bruce Guenther it
should be very exciting. It isn't just a world class event, it's a bleeding
edge discussion. Judd's fabrication has never been formally discussed like this
and with such detail. There are still a few seats available.
Today, Brian Libby interviews me in
Portland Architecture about Judd's relationship to designers and architects
Also, Thursday there was a nice full page, section
lead story in the Portland Tribune
. . I can't think of the last time a scholarly
conference got such top billing in a generalist publication?
Last but not least there was the Judd Related artist panel discussion which
I lead last Saturday at PNCA. It was probably the single most useful artist
panel discussion Ive ever had the pleasure to take in. It was long and I feel
like everyone got something usesful out of it.
Here is a link to an experiential
video/podcast of the event
If you just can't sit through the difficult production values here is a summary:
Storm Tharp's next show is basically about
his experience last year in Marfa
. Judd is new to his "top ten"
of favorites and he has an interesting love hate relationship to Judd's auteur-like
achievement. Storm is attracted to high levels of aesthetic achievement and
celebrates his hero's while expressing his own anxieties and insights into their
achievement. Storm's account was very personal.
Victor Maldonado, took a sociological stance on Judd. For Victor he's part
of this received American history to be contended with and called him a Coyote
an operator who is both wise and dangerous. Judd's decision to locate himself
in Marfa near the Mexican border became a somewhat politicized choice.
Laura Fritz, in a dry, somewhat Juddian delivery (that's just her) simply described
elements of her work and a key Judd work at the Des Moines Art Center that introduced
her to installation art. Interestingly, she felt her the video element of Evident
related to Judd's way of straining the perceivable world through manifold space
like Judd. She also emphasized the importance of rigorous editing rather than
simplicity for its own sake.
Arcy, discussed Judd and the problem of choice and has done a post on his
talk last Saturday on the Judd Conference blog
. Essentially, Douglass is
a systems artist and shares that with Judd, though I believe he's more influenced
by Carl Andre than Judd.
Anna Gray and Ryan Paulsen, discussed the way Judd inserted himself into the
discourse and the artistic violence of contending with Judd. They are primarily
influenced by Judd's writings rather than his systems, aesthetics, sociology
or achievement. This somewhat retraces what the next generation of conceptual
artists after Judd did but its really interesting that these young artists are
still dealing with the the same issues in an updated current way.
I made a point about how the limitless choices and openness Judd's art affords
can feel oppressive in their freedom... and that's why artists after Judd often
have such a strong reaction. I purposely chose artists who weren't making work that was primarily "about" Judd, pantomiming Judd or telling Judd jokes... which for me is too easy and Judd wasn't about easy.
In another bit of multiplicitous synchronicity 3 of us showed different images
of the same 100 Mil Aluminum Judd box at Chinati:
Storm Tharp's photo