But once inside 101 Spring Street, it seems as if Judd might stroll in at any moment, even if it is neater, cleaner and equipped with many more safety signs than when he left. Architectural Digest: How did the idea for Donald Judd Spaces come about? Judd also joined forces with the Dia Foundation to acquire a 240-acre military fort south of Marfa, where he installed large-scale sculptures by himself, Falvin, John Chamberlain and other artists in the decommissioned barracks and artillery sheds. It is presented as everything at once, the spaces as they were in use, and the spaces with Don. The top-floor bedroom features, from left, an early Judd wall piece; Claes Oldenburg’s. Across its 400 pages are both archival and newly commissioned photographs of his many spaces, plus a few of Judd’s personal essays. AD: How did you choose which essays to include? The same was true of much of the rest of SoHo – the area’s fortunes had declined with those of its textile trade, making it one of the few areas of New York with buildings which were spacious enough for artists, like Judd, to work in, yet cheap enough for them to afford. On the first floor, Judd designed a kitchen with wooden shelves to house his antique cutlery and tableware. “I had always considered my work another activity of some kind,” remarked artist Donald Judd. Ahead of the first major US retrospective dedicated to the late artist in over three decades, opening at MoMA next spring, we revisit our feature on 101 Spring Street following its restoration in 2013, Donald Judd’s daughter Rainer, who is on the board of the Judd Foundation with her brother Flavin, in the artist’s second-floor studio, which is dominated by one of his huge metal cube sculptures, Untitled (1969), and an Alvar Aalto desk and chairs. There is a certain familiarity with Don’s art and how that relates to space, but really, he was thinking of space related to architecture, furniture, the natural world, and beyond. Walking around Donald Judd’s old house at 101 Spring Street in New York’s SoHo is one of the best ways to immerse yourself in the artist’s spare aesthetic. He even designed the oval stainless-steel washbasins in the bathrooms, and had them fabricated by Bernstein Brothers in Queens where his metal sculptures were made. Architectural Digest may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. For artist Donald Judd, a house was not just a place to live, and a studio was not just a place to work—the spaces themselves are very much a part of his oeuvre. Through Jan 9, 2021. Donald Judd was an influential American artist known for his large-scale and unadorned sculptures. RJ: It was great fun to search through our archives, with an eye to sharing a photographic record of Don and his spaces. Naturally, Donald Judd Spaces was a book that was needed! Judd also made an imposing wooden daybed, and a large wooden table and chairs whose tops are perfectly level with the table top. Outside on the cobbles, this corner of SoHo would look unrecognisable to Judd. ‘Until now the only place where that had happened was the remote West Texan desert town of Marfa, where Judd spent much of his time from the early 1970s onwards. To protect the building and its contents, visitors will be shown around in small pre-booked groups by artists, who have been trained to act as guides. Having very deliberately installed his art and furniture in his residences and studios in New York and Texas, Judd stipulated in his will that he wanted the spaces preserved exactly how he had left them, a task given to the Judd Foundation, which restored them after his death in 1994 and opened them to the public as museums. Before the project began, the New York photographer Elizabeth Felicella photographed the cast-iron structure. Custom Order FAQ. Donald Judd, Untitled, 1989. Courtesy Judd Foundation and David Zwirner. There are more than 35 photographers who are part of this book and we are honored to have them share their work. Andre’s bricks will remain there permanently with one of Judd’s metal sculptures and an antique desk he found in the building, but the other pieces – currently more metal sculptures brought from Marfa – will change periodically. It isn’t. He turned to sculpture in the early 1960s, but remained dependent on his income from art criticism for several years afterwards. As well as Andre’s bricks, they include sculptures and furniture made by Judd himself and gifts from artist friends such as Dan Flavin and Claes Oldenburg, as well as pieces by older artists including Marcel Duchamp and Kurt Schwitters. What do you hope they'll learn from it? He created another charity, the Chinati Foundation, to manage the fort, although the Judd Foundation is responsible for other buildings in Marfa, many of which have been restored since his death. … The south room in the east building of La Mansana de Chinati/The Block in Marfa. We made a choice with our designer to set the photographs, both archival and newly commissioned, together and it created this beautiful narrative of the spaces over time. A vintage Alvar Aalto table and chairs furnish a small library whose wooden shelves contain an intriguing assortment of rocks, knick-knacks Judd’s Stetsons and the few paperbacks that remained after he shipped his other books to Marfa. Starting on Monday, the restored building will be opened to small group tours. After his death, Flavin, Rainer and the foundation trustees wrestled with the need to pay off the debt, which they could only do by selling art, and their determination to honour Judd’s wishes by preserving the spaces as he had left them. For artist Donald Judd, a house was not just a place to live, and a studio was not just a place to work—the spaces themselves are very much a part of his oeuvre. The previously unpublished images were both from our archives and through research with people, friends of Don’s, who had been in the spaces. Ad Choices, The artist’s daughter, Rainer Judd, takes. Having moved the studio to the second floor, he transformed the ground floor into a space for showing different works, as the foundation intends to do. ARO strove to preserve the interior, but some changes were necessary to comply with safety regulations. Through our work as an artist foundation with a large physical presence, we are in the unique place of figuring out how to best communicate the ideas contained within the spaces. Book A Visit It relates to the way Don treated the spaces in the building, and his sense of light, texture, scale and proportion. The scenes in the art gallery where Kim Basinger’s character works were shot there. The studio on the floor above is dominated by one of Judd’s enormous metal cube sculptures and his drafting table, complete with compasses and pencils. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. The original cable lift and wooden staircase linking the floors have survived, but Rainer’s beloved spiral staircase had to go, and safety devices installed, like ‘those God-awful exit signs’, as she calls them. Donald Judd’s library, with his drawing pencils, stones and Alvar Aalto furniture, at 101 Spring Street in SoHo. Inside the Donald Judd House, New York Architect Adam Yarinsky of Architecture Research Office (ARO) thinks experiencing Donald Judd’s art can help architecture make a more vital connection to contemporary life It is this conviction that made … Donald Judd House in SoHo Opens its Doors Photos by Judd Foundation Donald Judd is considered one of the top ten Minimalists in the art history canon. The top floor was the sleeping space, where Judd installed a platform bed for him and Finch, and built little lofts for the children. Rainer Judd: We have been thinking of a book like this for quite some time—our first book was the reprint of Don’s “yellow book” from 1975, which is a collection of his art criticism and his writing. There is a patina in almost everything, which gives a sense of warmth and history and ruggedness. Detail of the sleeping platform Judd designed for himself and his then wife, the dancer Julie Finch. The Judd Foundation architecture office in Marfa. From 12 Noon-3:00 PM, Judd Foundation hosted a traditional Tex-Mex barbeque at Casa Perez, Donald Judd’s ranch home at the base of Pinto Canyon. ‘The second thing is more subtle. “Why didn’t they keep that downstairs?” asked a recent visitor. Two of the essays are specifically on spaces, 101 Spring Street and La Mansana; two are on the broader sections of Marfa, Texas, and Ayala de Chinati; and one is on the ideas of Judd Foundation. essay by donald judd photography by elizabeth felicella via somewhere i would like to live 101 Spring Street, the building in Soho where Donald Judd lived and worked for years, is currently being renovated by Architecture Research Office. Having begun by renting summer houses, he bought a couple of ranches outside Marfa as well as empty buildings in the town, including an old bank, supermarket and factory. Donald Judd’s first concrete work, Untitled, 1971, was the last element added to the Glass House site’s historic core. After Judd and Finch broke up in the mid-1970s, he took both children to live in Marfa. A 50% deposit is required to initiate production. We hope readers will view Don’s artwork from a different place and think of space in a new light. His artistic style soon moved away from illusory media and embraced constru… Most of his artist friends were priced out of the neighbourhood long ago, though a few have managed to stay, including Trisha Brown and Joan Jonas, who still have studios in the neighbouring building, albeit with a Farrow & Ball store below, and an Ivanka Trump boutique across the street. RJ: The essays and film interview excerpt were selected as Don’s voice. By 1968, a number of artists had moved there, and the Paula Cooper gallery, now in Chelsea, had opened a block away from Judd’s building. When people go home from here, they might look at their own spaces differently.’, Judd’s will make it clear that he wanted the places where he had lived and worked to remain intact, wherever possible, so people could see them as he intended. He wrote extensively, as seen in Donald Judd Writings, so there exists a very clear record of his intentions with his spaces in New York and Texas. Purchased in 1976, this two-bedroom house contains works of art and furniture by Judd, Mexican-style ranch furniture, and … As well as offering intriguing insights into Judd and his work, the building evokes the era at the turn of the 1970s when SoHo was a grungy artists’ quarter rather than a designer shopping district. Seeing his work in Marfa is truly extraordinary, but getting there requires a lengthy journey for most visitors, and many more people will be able to experience an authentic Judd space in the SoHo building. He built a loft above the kitchen as a guest room, as well as wooden closets for the children beside a hatch that they’d pull down to stage puppet shows with the hand puppets an the marionettes Judd brought back from his travels. Use of this site constitutes acceptance of our User Agreement (updated as of 1/1/21) and Privacy Policy and Cookie Statement (updated as of 1/1/21) and Your California Privacy Rights. The Judd Foundation’s Whyte Building in Marfa. Customers are responsible for arrangement of shipping from Donald Judd Furniture to destination of choice. There are more Aaltos on the third floor, as well as artworks by Dan Flavin and Frank Stella, a couple of Gerrit Rietveld’s wooden ‘Zig-Zag’ chairs and an elaborate Etruscan bronze sconce and candelabra. Customers are responsible for arrangement of shipping from Donald Judd Furniture to destination of choice. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. An early Chamberlain crushed car sculpture is at one end of the main wall, and an Oldenburg fabric piece at the other, while one of Marcel Duchamp’s ready-mades, a snow shovel, hangs beside a bathroom door. The first thing you see when you walk into 101 Spring Street in the SoHo district of New York is a pile of bricks standing on the floor. The former studio and home of artist Donald Judd is in what used to be called the Cast Iron District of Manhattan. 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