donaldjudd   28

101 Spring Street
101 Spring Street, the building in Soho where Donald Judd lived and worked for years, was recently renovated by Architecture Research Office. Before the project began, the New York photographer Elizabeth Felicella photographed the cast-iron structure. We are pleased to present an essay about the building written by Judd in 1989, along with a selection of Felicella’s images of its interior spaces.
nyc  history  art  donaldjudd 
october 2017 by naveen
The Oppressive Gospel of ‘Minimalism’ - The New York Times
[See also: http://www.theatlantic.com/entertainment/archive/2016/03/marie-kondo-and-the-privilege-of-clutter/475266/ ]

"“Minimalism” was eventually canonized as an art-historical movement, but the name came to mean something different as it was adopted into consumer culture and turned into a class signifier. What was once a way artists shocked viewers became over the decades a style as delimited and consumable as any Martha Stewart tablescape. The word was defanged, no longer a critical insult and no longer a viable strategy within art — though it never quite gave up its veneer of provocation. Even austerity can be made decadent: To wealthy practitioners, minimalism is now little more than a slightly intriguing perversion, like drinking at breakfast. “One of the real problems with design-world minimalism is that it’s just become a signifier of the global elite,” Raskin says. “The richer you are, the less you have.”

The minimalists’ aesthetic of raw materials and aggressive simplicity leaked into fashion, design and architecture, where it became a luxury product, helped along at times by the artists themselves. Judd’s SoHo loft building is now an icon of sanitized minimalism, open to tourists. His Chinati Foundation, a permanent installation of concrete and metal boxes in and around a decommissioned military base in Marfa, Tex., is a site of hipster pilgrimage. It even appears in Ben Lerner’s “10:04,” a novel redolent of late-capitalist anxiety. The protagonist visits the town on an artist’s residency, where he wanders the desert landscape, parties with young people and accidentally ingests ketamine — but it’s Judd’s installation that provides an epiphany. The sculptures, he writes, “combined to collapse my sense of inside and outside.” Judd’s work “had itself come to contain the world.”

Today’s minimalism, by contrast, is visually oppressive; it comes with an inherent pressure to conform to its precepts. Whiteness, in a literal sense, is good. Mess, heterogeneity, is bad — the opposite impulse of artistic minimalism. It is anxiety-inducing in a manner indistinguishable from other forms of consumerism, not revolutionary at all. Do I own the right things? Have I jettisoned enough of the wrong ones? In a recent interview with Apartamento magazine set against interior shots of his all-white home in Rockaway, Queens, the tastemaker and director of MoMA PS1 Klaus Biesenbach explained, “I don’t aim to own things.”

Minimalism is now conflated with self-optimization, the trend that also resulted in fitness trackers and Soylent (truly a minimalist food — it looks like nothing, but inspires thoughts of everything else). Often driven by technol­ogy, this optimization is expensive and exclusively branded by and for the elite. In Silicon Valley, the minimalism fetish can perhaps be traced back to Steve Jobs’s famously austere 1980s apartment (he sat on the floor) and the attendant simplicity of Apple products. Pare down, and you, too, could run a $700 billion company. A thriving Reddit forum on minimalism debates the worth of Muji products and which hobbies count as minimalist-appropriate, in a communal attempt to live the most effective, if perhaps not the most joyful, life.

These minimalist-arrivistes present it as a logical end to lifestyle, culture and even morality: If we attain only the right things, the perfect things, and forsake all else, then we will be free from the tyranny of our desires. But time often proves aesthetic permanence, as well as moral high ground, to be illusory. And already, the pendulum is swinging back.

Writing in The Atlantic in March, Arielle Bernstein described minimalism’s ban on clutter as a “privilege” that runs counter to the value ascribed to an abundance of objects by those who have suffered from a lack of them — less-empowered people like refugees or immigrants. The movement, such as it is, is led in large part by a group of men who gleefully ditch their possessions as if to disavow the advantages by which they obtained them. But it takes a lot to be minimalist: social capital, a safety net and access to the internet. The technology we call minimalist might fit in our pockets, but it depends on a vast infrastructure of grim, air-conditioned server farms and even grimmer Chinese factories. As Lerner’s protagonist observes in “10:04,” even a dull convenience like a can of instant coffee grounds reaches him thanks to a fragile and tremendously wasteful network of global connections, a logistics chain that defies all logic, one undergirded by exploited laborers and vast environmental degradation.

There’s an arrogance to today’s minimalism that presumes it provides an answer rather than, as originally intended, a question: What other perspectives are possible when you look at the world in a different way? The fetishized austerity and performative asceticism of minimalism is a kind of ongoing cultural sickness. We misinterpret material renunciation, austere aesthetics and blank, emptied spaces as symbols of capitalist absolution, when these trends really just provide us with further ways to serve our impulse to consume more, not less."
minimalism  2016  mariekondo  asceticism  possessions  culture  society  consumption  ariellebernstein  kylechayka  siliconvalley  affluence  inequality  privilege  austerity  greatrecession  donaldjudd  davidraskin  aesthetics  technology  abundance  tidying 
july 2016 by robertogreco
Twitter
Un immeuble-œuvre d’art new-yorkais conservé dans les années 1970
DonaldJudd  from twitter
january 2016 by jacquesperconte
What Reclaimed Wood Meant — Kate Losse
"But if I went to the desert for space, when I got there I discovered another element that is abundant in desert architecture that was visually startling to me in its newness after the hard, gray-green industrial tones of the Bunker. This "new" material-- wood-- seemed so interesting to me that in 2011 I made a Facebook album called Reclaimed Wood to chart the material and its aesthetic progress to popularity, of which I was already certain. The first photos I took were of the ceiling in an old Ice Locker that Donald Judd, the original gentrifier, had purchased in Marfa. Built in the early 1900s, the locker had heavy white stucco and iron walls but the most beautiful, heavy, old, vintage wooden railroad beams in its ceiling; the effect of the wood was to soften what would be a hard industrial space into a pleasing, welcoming, artisanal atmosphere, and this is why Judd bought the building and converted it into an artist workshop and studio space. Judd, in a sense, predicted Reclaimed Wood forty years before everyone else caught on. All of the buildings he purchased in Marfa are masterful, original, unstudied versions of what has now become a national craze: the American industrial building with a soft, artistic and artisanal side. In Marfa these buildings were built for the railroad and then abandoned, decayed, and converted to art functions later. Thus their combined hardness/softness has had decades to develop.

After some months in Texas, I returned to the city and noticed that wood was steadily appearing everywhere and spreading. It began in small coffee shops like Four Barrel coffee shop (along with its textile counterpart, nautical rope, which often accompanies wood as a nod to wood's ship-ly connotations of pirates and sailors) and spread to restaurants and finally, back to the same tech company offices that I had left in pursuit of space and more organic forms. That's to say that the irony of all of this is that no environments have been more committed to retrofitting themselves with reclaimed wood than the very spaces that drive the technology that drives people to seek refuge from technology in more open, organic spaces. As technology filled our lives, so did our lives become increasingly filled with soft wooden beams and forms, a kind of reverse de-industrialization of the technical space using organic materials. We now plant these warm-colored, gnarled wooden objects like talismans amid our screens, a reminder of organic shapes, something to touch that, reassuringly, can't be swiped on.

It is thus that we have reached Peak Reclaimed Wood, where some restaurants and coffee shops are so plastered in vintage wooden planks and beams that there is no room for a single new plank of wood (in these spaces, the wood becomes less an accent than an attempt to create the illusion of living in a cabin, which is a related desire to reclaimed wood, but not identical. The desire to live in a coffee-house-as-cabin-- or to import actual cabins into your tech cafeteria, as Twitter did-- is something like a desire to live in the country or the past, without actually living there). And so, because aesthetics have to shift when they become saturated, what is next?

In my next post I will address what comes after Reclaimed Wood and why I think the next turn will be to 80s Hilton-esque business hotel stylings and what that means about us and what we need now."

[via: https://twitter.com/tealtan/status/549965313295781888 ]

[See also (referenced within: "Facebook IRL: A Short History of Facebook's Design Aesthetic"
http://www.katelosse.tv/latest/2014/2/4/facebook-irl-a-short-history-of-facebooks-design-aesthetic
katelosse  wood  texas  marfa  technology  materials  software  2014  aesthetics  donaldjudd  design  trends 
december 2014 by robertogreco
Marfa, Texas: An Unlikely Art Oasis In A Desert Town : NPR
"Johnson runs Marfa's bookstore, with an unsurprising emphasis on art books, art theory and poetry journals. Yoga classes are held there in the morning. It's the only place that sells The New York Times. But even though the Marfa Book Co. makes the town more tourist-friendly, Johnson does not believe Judd would approve of Marfa's emergence as a chic art world destination.

"He thought that making an arts-based cultural tourism was necessarily carnivalesque, which was, for him, anathema to the experience of art," he explains. "He knew that people would come see it, but he did not want that to be a large part of the economy, because he thought, socially, that would have a negative impact."…

We've never marketed…No marketing plan…No marketing director…

Unlike other towns that try to reinvent themselves as arts destinations, it has happened organically in Marfa…

…most newcomers are incredibly well-intentioned, but there's a give and take.

"Sometimes it feels like there's more taking,""
travel  tourism  2012  donaldjudd  cultureclash  revitalization  art  chinatifoundation  marfa  from delicious
august 2012 by robertogreco
When Meals Played the Muse - New York Times
"From the beginning, the idea was to establish not only a kind of perpetual dinner party but also a food-based philanthropy that would employ and support struggling artists, the whole endeavor conceived by Matta-Clark as a living, breathing, steaming, pot-clanging artwork.

“To Gordon, I think everything in life was an art event,” said Ms. Goodden, who now lives in a small town in New Mexico. “He had cooking all through his mind as a way of assembling people, like choreography. And that, in a way, is what Food became.”

In a catalog to accompany his retrospective, Elisabeth Sussman, the curator of the Whitney show, describes it as providing “the best picture of an artists’ utopia, in all its extraordinary ordinariness, that Matta-Clark imagined.”"
tinagirouard  robertfrank  rirkrittiravanija  filippomarinetti  thefuturistcookbook  philipglass  counterculture  alicewaters  robertkushner  trishabrown  1974  1971  janecrawford  hisachikatakahashi  robertrauschenberg  lcproject  openstudioproject  srg  cooking  donaldjudd  carolinegoodden  artists  allankaprow  supperclubs  dinnerparties  happenings  127prince  2007  nyc  restaurants  glvo  art  matta-clark  gordonmatta-clark  from delicious
april 2012 by robertogreco
LACMA Collections Online - Art and Technology
"In 1967, the two-year-old Los Angeles County Museum of Art began pairing contemporary artists with high-technology corporations in hopes that new artforms might arise. Ambitious and controversial at the time, this project remains a milestone in LA art history of lasting influence."

[pdf here: http://collectionsonline.lacma.org/mweb/archives/artandtechnology/PDFs/AandT_Report_1971.pdf ]
lacma  via:russelldavies  art  technology  history  1967  crossdisciplinary  interdisciplinary  losangeles  robertirwin  jamesturrell  donaldjudd  andywarhol  robertrauschenberg  richardserra  robertsmithson  jefraskin  claesoldenburg  brucenauman  roylichtenstein  ellsworthkelly  christo  johnbaldessari  anthonycaro  jeandubuffet  danflavin 
july 2008 by robertogreco

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