{"product_id":"donald-judd-stacks","title":"Donald Judd: Stacks (Rare edition)","description":"\u003cp class=\"p1\"\u003eFlavin Judd, Judd Tully, Jim Jacobs \u0026amp; Peder Bonnier\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHardcover | 26.3 x 1.2 x 34.5 cm | 68 pp\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMnuchin Gallery | 2013 | 9780989290913\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe 2013 exhibition \u003cem\u003eDonald Judd: Stacks\u003c\/em\u003e at Mnuchin Gallery \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003efocused on this single aspect of\u003c\/span\u003e\u003cspan\u003e Donald Judd's work. \u003c\/span\u003eFeaturing ten stacks from four decades, this was the first exhibition devoted to this iconic form in Judd’s oeuvre and the history of modern sculpture.\u003c\/p\u003e\n\u003cp\u003eJudd is known for his geometric explorations of volume, space, and colour. In New York in the 1960s, Judd was among the first in a group of artists who challenged notions of subjectivity and pictorial illusionism by creating art from industrial processes and materials. When Judd created his first stack in 1965—an arrangement of identical iron units stretching from floor to ceiling—the work represented a breakthrough in his integration of art and architecture. \u003c\/p\u003e\n\u003cp\u003eThe work also fulfilled Judd’s goal of creating real space with sculpture: in this column of alternating solids and voids, the distances between the units became a part of the work, the spaces functioning themselves as open volumes. Here, the artist succeeded in giving ‘nothingness’ a spatial identity.\u003c\/p\u003e\n\u003cp\u003eJudd went on to revisit the stack’s form through the last years of his career, and they now serve as his best-known legacy, represented in the collections of nearly every major museum worldwide. Over the years, Judd experimented with a broad spectrum of materials to explore the myriad effects of varying transparency, opacity, surface, and colour.\u003c\/p\u003e\n\u003cp\u003eThe exhibition included ten stacks of both large and small sizes, spanning from 1968 to 1990. The earliest stack in the exhibition, \u003cem\u003eUntitled (DSS 120)\u003c\/em\u003e (1968), represents one of Judd’s earliest uses of Plexiglas in this form, pairing the warm glow of amber Plexiglas with the cool sheen of stainless steel. From a decade later, \u003cem\u003eUntitled (Bernstein 78-69)\u003c\/em\u003e (1978) turns colour into voluptuous shape with its opaque candy red Plexiglas. The bold drama of colour culminates in \u003cem\u003eUntitled (Bernstein 88-25)\u003c\/em\u003e (1988), with its jewel-box like units of violet anodised aluminium.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThe Stacks represent a \u003c\/span\u003e\u003cspan\u003erevolutionary integration of art, architecture, and space - a \u003c\/span\u003e\u003cspan\u003ebold embodiment of Judd's Minimalist principles that have \u003c\/span\u003e\u003cspan\u003etruly influenced the course of modern sculpture. Celebrated since \u003c\/span\u003e\u003cspan\u003etheir creation in 1965, the stacks are now represented in many \u003c\/span\u003e\u003cspan\u003emuseum collections around the world.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eEssays\u003c\/strong\u003e\u003cbr\u003eSpace Regained - Flavin Judd\u003cbr\u003eDonald Judd: Shape, Sculpture \u0026amp; Stacks - Judd Tully\u003cbr\u003eMy First Stack - Jim Jacobs\u003cbr\u003eA Friend - Peder Bonnier\u003cbr\u003e\u003c\/p\u003e","brand":"Mnuchin Gallery","offers":[{"title":"Default Title","offer_id":47758153187586,"sku":"BK-MNU-DJS-001-OP","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_3971_131a89dd-5d64-4da6-bc08-4df849970a77.jpg?v=1780309603","url":"https:\/\/www.booksaboutart.co.uk\/products\/donald-judd-stacks","provider":"Books About Art","version":"1.0","type":"link"}