Donald Judd / Sol LeWitt

February 19 to April 9, 2011
Donald Judd, Sol LeWitt

Donald Judd Early Woodcuts Trial Proofs
Sol LeWitt Four Towers Structure

In 1973, the first solo exhibition of Donald Judd (1928-1994) took place at Galerie Verna, followed in 1975 by an initial show with Sol LeWitt (1928-2007). This could give the impression that the gallery was thus seeking to become characterized by a clearly defined artistic program, with these two figures seen as outstanding exponents of such. The tendency to focus on the obvious characteristics and force things of art into a fitting and plausible concept of style, subsumed under the perspective of similarity, misses out on the far more revealing aspect, that of significant differences. In the case of epochal artistic achievements, it is these differences that presuppose something comparable and, precisely because of this constellation, provide relevant and substantial insights and views. Common ideas and artistic goals, a parallel commitment to innovation, perceived as a necessity and resulting from a given historical context, form the basis for this. To do justice to the associated achievements, it is essential to have an understanding of art that accords independence, and hence a great significance, to visual cognition.

In softer epochs, everything tries to distinguish itself from everything else, with the questionable outcome that, aside from a slight difference, everything more or less remains the same. A metaphorical coloring and elevation of all these individual cases is incapable of changing anything in this regard over the long run.

‘You see, the thing about my work is that it is a given,’ stated Don Judd in a 1971 interview. The real presence of this given, this known quantity, necessitates complex definitions, inventions and decisions. With the authority of the artist, a matter of great importance to him, Don Judd manifests this strong, prioritized will to presence.

A certain form of absence typifies Sol LeWitt’s strategy. The grid is capable of illustrating this concept quite precisely, as the renunciation of a closed, clearly demarcated volume and of a uniform shape in favor of an open and expanding network.

From a history of mentality perspective, an exclusive conception can thus be countered with an inclusive one without thereby resorting to hasty resentments.

The exhibition presented here shows in exemplary fashion the paths that Judd and LeWitt each took and the ends that were thereby attained.

From Donald Judd, trial proofs are on display from the following early portfolios, with central importance to his work: ‘Untitled 1961-63/1968-69 Set of twenty-six woodcuts in cadmium red’ and ‘Untitled 1961-63/1969 Set of twelve woodcuts in cerulean blue’. They document how the artist moved toward a final version of the prints with proofs pulled by hand. The unusual and unconventional printing process left many possibilities open and also allowed him to visualize slight differences in color, texture, on various paper surfaces.

The work by Sol LeWitt is represented with a large structure entitled ‘Four Towers’ from the last year of his life, joined by a number of ‘Working Drawings’ as well as selected gouaches. ‘Four Towers’ is a major and spectacular work that can be seen as an outstanding legacy.

Installation views

Donald Judd, Sol LeWitt, Donald Judd / Sol LeWitt

Installation views
room 1 and room 4

Installation view office

Installation view Raum 1

Installation view room 2

Installation view room 3

Works

Donald Judd
Untitled
1984 - 1985
105 x 74 cm
Etching on Arches
Cover White paper
Ed. 5/15

Donald Judd
Untitled
1986
60 x 80 cm
woodcut
Untitled
1986
60 x 80 cm
woodcut

Donald Judd / Donald Judd Untitled 1961-1963 77.2 x 55.5 cm woodcut in cerulean blue on cartridge paper Ex. 5/12 Untitled 1961-1963 77.2 x 55.5 cm woodcut in cerulean blue on cartridge paper

Donald Judd
Untitled
1961-1963
77.2 x 55.5 cm
woodcut in cerulean blue on cartridge paper
Ex. 5/12
Untitled
1961-1963
77.2 x 55.5 cm
woodcut in cerulean blue on cartridge paper

Donald Judd
Untitled (11-L)
1961-69
woodcut in cadmium red on cartridge paper
77.5 x 55.9 cm

Donald Judd
Untitled (3-R)
1961-69
woodcut in cadmium red on cartridge paper
77.5 x 55.9 cm

Donald Judd
Untitled
1992
25 x 25 x 100 cm
plywood and plexiglass
(PB 92-6)

Donald Judd
Untitled (6-L)
1961-69
woodcut in cerulean blue on cartridge paper
77.5 x 55.9 cm

Donald Judd
Untitled (4-L)
1961-69
woodcut in cadmium red on cartridge paper
77.5 x 55.9 cm

Donald Judd
Untitled (13-R)
1961-69
woodcut in cadmium red on cartridge paper
77.5 x 55.9 cm

Donald Judd
Untitled (6-L)
1961-69
woodcut in cadmium red on cartridge paper
77.5 x 55.9 cm

Donald Judd
Untitled (8-R)
1961-69
woodcut in cadmium red on cartridge paper
77.5 x 55.9 cm

Donald Judd
Untitled (12-R)
1961-69
woodcut in cerulean blue on cartridge paper
77.5 x 55.9 cm

Donald Judd
Untitled (13-L)
1961-69
woodcut in cerulean blue on cartridge paper
77.5 x 55.9 cm

Donald Judd
Untitled (1-R)
1961-69
woodcut in cerulean blue on cartridge paper
77.5 x 55.9 cm

Sol LeWitt
Irregular Form
1998
55.9 x 76.2 cm / 22 x 30"
gouache on paper

Sol LeWitt
Concrete Block Structure
1996
33.4 x 61 cm
ink on paper

Sol LeWitt
Concrete Block Structure (Swiss Re)
2000
29.7 x 21 cm
ink on paper

Sol LeWitt
Concrete Block Structure (Swiss Re)
2000
61.2 x 63.5 cm
pencil on checkered paper

Sol LeWitt
Concrete Block Structure (Tschudi)
2000
25.9 x 90.8 cm
pencil on checkered paper

Sol LeWitt
Working Drawing for Grid Sculpture
1966
15 x 26 cm
pencil on paper (recto/verso)

Sol LeWitt
Working Drawing
1966
14.5 x 21 cm
ball-point pen on paper

Sol LeWitt / Sol LeWitt Straight, not straight and broken lines in all horizontal combinations (three kinds of lines and all their combinations) 1973 Portfolio of 7 etchings Ex. 7/25 each 69 x 53.8 cm

Sol LeWitt
Straight, not straight and broken lines in all horizontal combinations
(three kinds of lines and all their combinations)
1973
Portfolio of 7 etchings Ex. 7/25
each 69 x 53.8 cm