Donald Judd : writings

Includes bibliographical references and index.

Flavin Judd -- Why Write? Caitlin Murray -- Editors' Note -- Guide to Previous Publications -- Guide to Locations -- An Ica Leeboard, 1958 -- James Brooks: Ainlee, 1959 -- Puget, 1959 -- Jackson Pollock by Bryan Robertson, 1960 -- Letter on Behalf of Yayoi Kusama, 1961 -- New York City -- A World Art Center, 1962 -- Lee Bontecou, 1962 -- Note, c. 1963 -- Kandinsky in His Citadel, 1963 -- Interaction of Color by Josef Albers, 1963 -- Kansas City Report, 1963 -- Chamberlain: Another View, 1963 -- Local History, 1964 -- Specific Objects, 1964 -- Twentieth Century Engineering, 1964 -- Barnett Newman, 1964 -- Note, 1965 -- Lee Bontecou, 1965 -- Statement, 1965 -- John Chamberlain, 1965 -- To Encourage Sculpture: The Howard and Jean Lipman Collection, 1965 -- Statement, 1966 -- Claes Oldenburg, 1966 -- Statement, 1966 -- Letter to the Editor, February 1967 --

Jackson Pollock, 1967 -- Statement, 1967 -- Statement, 1967 -- Statement, 1968 -- Statement, 1968 -- Statement, 1968 -- Complaints: Part I,1969 -- Aspects of Flavin's Work, 1969 -- The Artist and Politics: A Symposium, 1970 -- General Statement, 1971 -- Revenue Sharing, 1971 -- Greater Westbeth, 1971 -- Letter to Irving Sandier, 24 January 1973 -- Complaints: Part II, 1973 -- Malevich, 1973-74 -- Imperialism, Nationalism, and Regionalism, 1975 -- Note, 1976 -- Judd Foundation, 1977 -- Statement, 1977 -- Letter to A. d'Huart, 25 May 1978 -- Notes, September 1979 to January 1981 -- Russian Art in Regard to Myself, 1981 -- Letter to the Editor, 9 December 1981 -- Leo Castelli, 1981 -- Notes, 1982 -- On Installation, 1982 -- Notes, 1983 -- "Abstract Expressionism," 1983 -- Art and Architecture, 1983 -- A Long Discussion Not About Master-Pieces but Why There Are So Few of Them: Part I, 1983 -- A Long Discussion Not About Master-Pieces but why There Are So Few of Them: Part II, 1984 -- Notes, 1984 -- On Architecture, 1984 -- Art and Architecture, 1984 -- Notes, 1985 -- Symmetry, 1985 -- Marfa, Texas, 1985 -- Notes, 1986 -- On Furniture, 1986 -- Notes, 1987 -- Statement for the Chinati Foundation/La Fundación Chinati, 1987 -- Art and Architecture, 1987 -- Notes, 1988 -- Richard Paul Lohse, 1988 -- Notes, January to October 1989 -- Letter, 29 October 1989 -- Notes, November to December 1989 -- Ausstellungsleitungsstreit, 1989 -- 101 Spring Street, 1989 -- La Mansana de Chinati, 1989 -- Ayala de Chinati, 1989 -- Providence, 1989 -- Cleveland, 1989 -- Belley, 1989 -- In Addition, 1989 -- Notes, 1990 -- Una stanza per Panza, 1990 -- Notes, January to August 1991 -- Letter to John Hemphill, 14 October 1991 -- Notes, October 1991 -- Letter to the Editor, 19 October 1991 -- Letter to the Attorney General of the State of Texas, 18 December 1991 -- Notes, December 1991 -- Nie Wieder Krieg, 1991 -- Josef Albers, 1991 -- Notes, January to February 1992 -- Letter to the Editor, 19 February 1992 -- Notes, March to December 1992 -- Cacalomilli, 1992 -- Art and Internationalism, 1992 -- Fine Art and Commercial Architecture, 1992 -- Monument to the Last Horse: Animo et Fide, 1992 -- Notes, January 1993 -- 21 February 1993 -- Notes, February to November 1993 -- It's Hard to Find a Good Lamp, 1993 -- Some Aspects of Color in General and Red and Black in Particular, 1993 -- Images -- Index.

"Donald Judd writings", copublished by Judd Foundation and David Zwirner Books, is the most comprehensive collection of the artist's writings assembled to date. This timely publication includes Judd's best-known essays organized chronologically with little-known texts previously published in limited editions. This new collection also includes unpublished college essays and hundreds of never-before-seen handwritten notes, a critical but unknown part of Judd's writing practice. Judd's earliest published writing, consisting largely of reviews for hire, defined the terms of art criticism in the 1960s, but his essays as an undergraduate at Columbia, published here for the first time, contain the seeds of his later writing, and allow readers to trace the development of his critical style. The writings that followed Judd's early reviews are no less significant art-historically, but have been relegated to smaller publications and have remained largely unavailable until now. The largest addition of newly available material is Judd's unpublished notes--transcribed from his handwritten accounts of and reactions to subjects ranging from the politics of his time, to the literary texts he admired most, from complaints about pluralism in art to his admiration for Giambattista Vico, and through him, Lucretius. In these intimate reflections we see Judd's thinking at its least mediated--a mind continuing to grapple with questions of its moment, demonstrating the intensity of thought that continues to make Judd such a formidable presence in contemporary art.