Perception leads to thought and feeling right here at the Judd Foundation. This building stands as a testament to Donald Judd’s vision. It is more than just a space. It is a declaration of how art should exist. Welcome to 101 Spring Street. This is the New York home of the Judd Foundation.
Donald Judd was born in Missouri in 1928. He sought something beyond traditional art spaces. Judd wanted his art to stand alone. He did not want it to represent anything else. Frustrated by small galleries, he looked for openness. In 1971, Judd moved to Marfa, Texas.
But New York remained important to him. He continued to live and work here until his death in 1994. This building at 101 Spring Street became a canvas for his ideas. Judd filled it with art, furniture, and everyday objects. Over 2000 pieces found a home here.
Judd was upset by how museums decontexualize art. He believed art should be shown in the context of its creation. This space embodies that belief. The Judd Foundation preserves his vision meticulously. It maintains his living and working spaces. The Foundation also cares for his extensive libraries and archives. These archives stretch over 100 linear metres.
Stepping inside, you enter Donald Judd’s world. He bought this building in 1969. For 20 years, he renovated it into combined living and workspaces. Judd was passionate about historic preservation. He believed the building should be repaired but not changed. The nineteenth-century open floor layout reflects this philosophy. Each floor serves a distinct purpose.
Art is everywhere within the Judd Foundation. Works by Frank Stella, Claes Oldenburg, and John Chamberlain are present. These artists shared Judd’s vision. The building accommodates oversized works. This influenced the architecture of galleries and museums.
The Judd Foundation is dedicated to preserving Judd’s art. They also preserve the buildings where he made it. This includes 22 buildings on 12 properties in Marfa, Texas. It also encompasses 101 Spring Street in New York City. His children oversee these plans.
Judd’s first love was architecture. He studied philosophy at Columbia University. Later, he became an art critic. This helped him evolve his ideas about art. Judd came from an American pragmatist tradition. Pragmatists believe in facts and concreteness. He thought seeing should lead to thinking.
Judd saw simple geometric shapes as a way to see an object “as it is.” Space is made. It is not neutral. His square and rectilinear constructions are straightforward and individual. Judd set the height of horizontal pieces so viewers could see three sides at once. He used simple ratios. His color choices were few and distinct.
He hated the term “Minimalism”. Judd felt museums and galleries made “symbols” of art. He wanted to invent a new kind of space. This space would delineate around his objects. Judd wanted to produce art never seen before. He made space palpable.
The Judd Foundation continues his work. It promotes understanding of his artistic legacy. It offers educational programs and scholarships. This place is not just a gallery. It is a portal into Donald Judd’s mind. It is a space where art and architecture converge. It preserves the essence of an artist who defied convention.