Found objects and fall-outs: a new book reveals new sides to Donald Judd and his work
Neil Levine, a historian and former friend of the artist, tells us about his publication, which offers a personal perspective on the Minimalist master
US artist Donald Judd (1928-94) is a celebrated and complex figure in post-war American art. In the book, The Sculpture of Donald Judd, art and architectural historian Neil Levine provides a new perspective on the Minimalist artist's work, tracing its development from painting to three-dimensional objects. A friend of Judd from 1965 to 1975, Levine draws on his decades-long knowledge of the artist's practice and anecdotes from their friendship.
Levine explains that he was motivated to write the book because he believed that theory and art practice are distinct, and that artists' writings often do not accurately reflect their work. Although Judd's writings, such as Specific Objects, can offer insights into his thoughts, they are not directly about his art. Levine discovered that the found object played a significant role in Judd's early work, which he previously had not focused on.
This focus on found objects highlights Judd's work as a form of concrete art, critiquing the abstract nature of modern life.
Having known Judd personally, Levine found that his friendship did not offer a deeper understanding of the artist. His nervousness during their first meeting in 1965 led him to avoid reviewing a Judd exhibition, which is now on the cover of his book. Levine's 1975 trip to France aimed to understand Judd's mindset, but their conversations were often unproductive due to Judd's reserved nature.
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