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Donald Judd, by David Raskin
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Review
"The book explores Judd's history, politics, and biography in a way that is both fascinating and dense, approachable and abstract—echoing the strangely affecting nature of the work itself." —Cindy Widner, Austin Chronicle (Cindy Widner Austin Chronicle)"Raskin's monograph is a dense critical commentary on an artist whose work is due for precisely this kind of revisiting."—G. R. Brown, CHOICE (G. R. Brown CHOICE)"[A] must-have. . . . Remarkably, the first major monograph devoted to Judd."—Dyal Blog (Dyal Blog)“Referencing Judd’s writings, interviews, and works as well as those of many art critics, philosophers, scholars, and artists, this generously illustrated book (60 color and 80 monochrome reproductions) featuring creations by Judd and many contemporary artists is well documented, nicely presented, and intellectually stimulating.”—Library Journal (Library Journal)“With this elegant book, Judd’s multicolored works receive the thoughtful attention and recognition they deserve.”—Publishers Weekly (Publishers Weekly)
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About the Author
David Raskin is professor of Art History, Theory, and Criticism at the School of the Art Institute of Chicago.
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Product details
Hardcover: 220 pages
Publisher: Yale University Press; First Edition edition (November 23, 2010)
Language: English
ISBN-10: 0300162766
ISBN-13: 978-0300162769
Product Dimensions:
9 x 1.2 x 11 inches
Shipping Weight: 2.6 pounds
Average Customer Review:
4.5 out of 5 stars
8 customer reviews
Amazon Best Sellers Rank:
#2,182,363 in Books (See Top 100 in Books)
An exceptionally fine treatment of the work of this major artist. Exemplary design. Excellent balance between text and image. Articulate, informative and readable. The book's clean presentation, w/its attention to image size and surrounding white areas, and selection/location/variation of images on the page, is faithful to Judd's purism and formalism. I would also recommend Dietmar Elger's "Donald Judd Colorist" (Hatje Cantz), which is marginally more refined than the Raskin (if that's possible) in its more condensed and formal treatment. - Conversely, while I'm at it, "Chinati: The Vision of Donald Judd", is profoundly disappointing in its presentation. Extremely cluttered, mostly w/full and near-full page bleeds of images spread across 2 pages w/a fold down the center, it is a coffee-table book in the most banal sense: large, eye-catching, visually aggressive, and aesthetically lacking. I can't believe Judd would have liked it.
Beautiful photographs. Includes TWO photos of each work. This addresses a problem with the photos in many books on Judd's work: with only one photo (often nearly head on) you can't really tell what's going on. This book addresses that and the photos and printing are lovely. It also has pictures of the gallery space showing groups of works, and they have an ethereal, otherworldly quality that's a bit different than any other presentation of his work I've seen.
great artist. The reading is intellectuallly dense for me and their were other artists included in the book, perhaps because Judd himself was a critic.
This is a beautiful book. Presents Donald Judd's work in excellent way, photos are gorgeous, one text and one interview illuminate the work in a very direct way.
Great...book came in perfect condition and is a nice volume with excellent photos of Judd's work.
Anyone who cares about the ways artists use materials to create artworks that have significant meaning should read this book. Raskin starts with some of the most apparently austere art of the twentieth century--Donald Judd's so-called 'minimal' sculptures comprised of industrial materials like steel, plywood, plexiglass, and concrete--and shows that they are properly understood when we see them as creating relationships of values. In Raskin's challenging but rewarding account, Judd's art turns out to be not just another post-war instance of art's 'reduction' to ever more attenuated forms (as pedestrian histories of minimalism would have it), but about the most important things in experience; namely, about our modes of encountering the world and others. Raskin helps us see what Judd called art's "scale": not just a property of objects, but an articulation of an individual's ways of thinking, feeling, and believing.
This is a beautifully produced book, lavishly illustrated. The text is less impressive: it's very argumentative without actually following through with a convincing case. It's one of those aggressive books young men tend to write that tries to sweep away all the big names but without carefully unpacking an alternative case. The best chapter is on Judd's engagment with politics where this is less evident. The actual engagement with Judd's work is cursory and a bit pedestrian.
Raskin's study is at once wide-ranging in its erudition, yet accessible and a pleasure to read. It is a major addition to the literature on Judd and, indeed, Minimalism.
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