Word: judds
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Dates: during 1970-1979
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...patients like so many laboratory animals. San Francisco's Allen Wheelis, who is both psychoanalyst and thoughtful novelist, believes that a human being who submits to behavior manipulation "is treating himself as object and to some extent, therefore, becomes an object." In a similar vein, Los Angeles Analyst Judd Marmor recently wrote that the new method comes "uncomfortably close to the dangerous area of thought and behavior control." Not so, says Behaviorist Alan Goldstein of Temple University. "People come to us to have their behavior changed. It is not our choice. We don't tell them how they...
...must be made where it will sit, the way a building is made. The idea of making blueprints and farming out the work to factories (adopted by some of Di Suvero's contemporaries, among them Donald Judd) would do violence to the spirit of his sculpture. Delegated work can be done with sculpture whose look can be predicted-symmetrical or elementary or inert forms. With Di Suvero, everything hinges on the fine intuitive balance and adjustment of the heavy girders, the turnbuckles and cables. His style is as intimate as watercolor, despite its scale. What counts is the tuning...
...with the consequent loss of jobs." The CPC set up a certification committee to decide who is, and who is not, an artist. The committee has been the butt of much criticism, particularly from artists who are not involved with the SoHo Artists' Association. Says Sculptor Don Judd, who owns an iron-front warehouse on Spring Street: "It is a threat, at least an insult, though possibly harmless since its operations seem unenforceable. Legalization won't mean much. You can't turn an area into an occupational ghetto...
Ruthless and pointless as this may seem, Judd's work is a consistent answer to a difficult question: What kind of order belongs to sculpture and to nothing else? More organic sculpture alludes to orders that are not its own, thus the bumps and hollows and textures of a Henry Moore suggest the processes by which wood grows or rocks are formed. Judd's work treads the thin, difficult edge of embodying and demonstrating an order without alluding to it. Hence its abstractness, its relative unpopularity and the challenging effect it has had on younger artists...
...curious thing is that, as the show in Pasadena makes clear, Judd's work is a good deal less cold and unenjoyable than its philosophy suggests. His use of materials is instinctively exquisite. A piece like Untitled, 1970 (see color page) seems bald at first-a run of identical flat sheets of galvanized iron, each 5 ft. by 4 ft., along the gallery wall. Then you notice the silvery flakes and washes caused by the galvanizing bath, rising through the darker metal and catching the light like mica, and that sense of program and frigidity goes. Says Judd: "There...