Here are all five of Donald Judd’s multicolored floor pieces. (A sixth floor piece, in ‘blank’ galvanized iron, is at the Tate.) One of them, the version in the collection of the Museum of Modern Art, is included in “Donald Judd: The Multicolored Works” at the Pulitzer Foundation for the Arts through January 4. Exhibition curator Marianne Stockebrand is this week’s guest on The Modern Art Notes Podcast.
“The Multicolored Works” is the first museum exhibition to focus on Judd’s use of color, and more specifically Judd’s use of color in the 1980s, when he discovered a process that enabled a new kind of sculpture. It includes 23 Judd sculptures as well as works on paper and collages from the collection of the Judd Foundation that reveal Judd’s creative process. The gorgeous exhibition is a shoo-in to rank highly on critics’ year-end top-ten lists.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
All of the multicolored floor pieces are untitled. From the top, where they are: Stedelijk Museum, Amsterdam (1989), Museum Bojimans Van Beuningen, Rotterdam (1984), , Kunstsammlung Nordrhein-Westfalen, Dusseldorf (1989-90), Museum of Modern Art, New York (1989), Herbert Collection, Ghent (1984).
This week’s Modern Art Notes Podcast features Marianne Stockebrand, the curator of “Donald Judd: The Multicolored Works” and the former director of the Chinati Foundation. The program was taped before a live audience at the Pulitzer Foundation for the Arts, where “The Multicolored Works” is on view through January 4.
This is the first museum exhibition to focus on Judd’s use of color, and more specifically Judd’s use of color in the 1980s, when he discovered a process that enabled a new kind of sculpture. “The Multicolored Works” includes 23 Judd sculptures as well as works on paper and collages from the collection of the Judd Foundation that reveal Judd’s creative process. The gorgeous exhibition is a shoo-in to rank highly on critics’ year-end top-ten lists.
This is an untitled Donald Judd from 1963, an example of the two-color ‘rule’ that Stockebrand and host Tyler Green discussed on this week’s program. One of the four editions of this sculpture is in the collection of the National Gallery of Art.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
This week’s Modern Art Notes Podcast features Marianne Stockebrand, the curator of “Donald Judd: The Multicolored Works” and the former director of the Chinati Foundation. The program was taped before a live audience at the Pulitzer Foundation for the Arts, where “The Multicolored Works” is on view through January 4.
This is the first museum exhibition to focus on Judd’s use of color, and more specifically Judd’s use of color in the 1980s, when he discovered a process that enabled a new kind of sculpture. “The Multicolored Works” includes 23 Judd sculptures as well as works on paper and collages from the collection of the Judd Foundation that reveal Judd’s creative process. The gorgeous exhibition is a shoo-in to rank highly on critics’ year-end top-ten lists.
Among the topics Stockebrand and host Tyler Green discussed is how Judd arrived at colors. In an essay Judd wrote just before his death, “Some Aspects of Color in General and Red and Black in Particular,” Judd wrote about how important this Roger van der Weyden Crucifixion (ca. 1460) at the Philadelphia Museum of Art was to him (Judd briefly lived in Philadelphia in 1947 and remembered the painting from that time): “The colors I remember are blue, not soft, and red, high and slightly rosy. In my present vocabulary, they are similar to RAL-Farben 3027, Himbeerrot, and RAL-5013.”
As Stockebrand pointed out on this week’s program, Judd wasn’t trying to copy those colors in his painting — to him they remained stolidly van der Weyden’s — but to depart from them. Pictured here are the van der Weyden and RAL-3027, the exact appearance of which may vary widely depending on your screen. At the bottom is an untitled 1989 Judd piece which may have been informed by the van der Weyden’s red. It may not be a RAL-3027-colored work/
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
This week’s Modern Art Notes Podcast features Marianne Stockebrand, the curator of “Donald Judd: The Multicolored Works” and the former director of the Chinati Foundation. The program was taped before a live audience at the Pulitzer Foundation for the Arts, where “The Multicolored Works” is on view through January 4.
This is the first museum exhibition to focus on Judd’s use of color, and more specifically Judd’s use of color in the 1980s, when he discovered a process that enabled a new kind of sculpture. “The Multicolored Works” includes 23 Judd sculptures as well as works on paper and collages from the collection of the Judd Foundation that reveal Judd’s creative process. The gorgeous exhibition is a shoo-in to rank highly on critics’ year-end top-ten lists.
The exhibition includes one of Judd’s six multicolored ‘floor pieces’: This untitled work from 1989 in the collection of the Museum of Modern Art.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
This week’s Modern Art Notes Podcast features Marianne Stockebrand, the curator of “Donald Judd: The Multicolored Works” and the former director of the Chinati Foundation. The program was taped before a live audience at the Pulitzer Foundation for the Arts, where “The Multicolored Works” is on view through January 4.
This is the first museum exhibition to focus on Judd’s use of color, and more specifically Judd’s use of color in the 1980s, when he discovered a process that enabled a new kind of sculpture. “The Multicolored Works” includes 23 Judd sculptures as well as works on paper and collages from the collection of the Judd Foundation that reveal Judd’s creative process. The gorgeous exhibition is a shoo-in to rank highly on critics’ year-end top-ten lists.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
This week’s Modern Art Notes Podcast features Eric Fischl. His new memoir “Bad Boy,” co-written with Michael Stone, has just been published by Crown. In the book, Fischl talks about growing up on Long Island, his mother’s alcoholism and suicide, his discovery of art, his meteoric rise in the New York art world during the cocaine-fueled 1980s, how he was motivated to become sober and how his travels and life experiences have fueled his work in the decades since. Images of many of his paintings and sculptures are on his website.
It’s a strikingly good read. Art students and young artists, no matter whether they’re painters or ardent conceptualists, will find it particularly interesting: Fischl talks about the process of figuring out how to become — and remain — an artist with candor and insight.
This is a detail from Fischl’s Master Bedroom (Her Master’s Voice) (1983). On this week’s MAN Podcast, Fischl and host Tyler Green discuss the light and narrative of this painting.
Fischl was one of the most prominent American painters to emerge in New York in the 1980s. He was featured in a solo exhibition at the Whitney Museum of American Art in 1986, just four years after his first solo gallery show. Since then he’s been the subject of exhibitions at the Walker Art Center, the Milwaukee Art Museum, the Musee Cantonal des Beaux-Arts in Lausanne, at the Kunstmuseum Wolfsburg, the Museum Haus Esters in Krefeld and more.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
This week’s Modern Art Notes Podcast features Eric Fischl. His new memoir “Bad Boy,” co-written with Michael Stone, has just been published by Crown. In the book, Fischl talks about growing up on Long Island, his mother’s alcoholism and suicide, his discovery of art, his meteoric rise in the New York art world during the cocaine-fueled 1980s, how he was motivated to become sober and how his travels and life experiences have fueled his work in the decades since.
It’s a strikingly good read. Art students and young artists, no matter whether they’re painters or ardent conceptualists, will find it particularly interesting: Fischl talks about the process of figuring out how to become — and remain — an artist with candor and insight.
Fischl was one of the most prominent American painters to emerge in New York in the 1980s. He was featured in a solo exhibition at the Whitney Museum of American Art in 1986, just four years after his first solo gallery show. Since then he’s been the subject of exhibitions at the Walker Art Center, the Milwaukee Art Museum, the Musee Cantonal des Beaux-Arts in Lausanne, at the Kunstmuseum Wolfsburg, the Museum Haus Esters in Krefeld and more.
On the second segment, Kate Shepherd talks about her work, particularly her interest in the primary colors. Her work is included in the group show “The Artist’s Palette: The Primary Colors on Paper” at the Museum of Fine Arts Houston. It’s on view through June 2. Many images of Shepherd’s work are available at her website.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
The Huntington Library, Art Collections and Botanical Gardens has acquired a rare, intact Carleton Watkins album of the Sunny Slope farm and distillery. The album, which dates to the 1880s, includes 27 circular photographs that measure five inches in diameter on six-and-a-half-inch-square paper. Intact Watkins albums are rare, and a number of albums have been broken up in recent years. The Huntington album seems to be the only known intact album of Watkins’ circular prints.
“It’s so unusual, so rare,” Huntington photography curator Jennifer Watts said. “Basically through neglect there may be some Watkins albums that are still out there. I can’t think of another album like this that I’ve seen. There’s certainly never been an example here going back many decades.”
The album was just acquired for the Huntington Library by its photography curator, Watkins expert Jennifer A. Watts. In December, 2011, Watts came on Episode No. 8 of The Modern Art Notes Podcast to talk with Green about the last major event in Watkins scholarship: The publishing of a catalogue raisonne of Watkins’ mammoth-plate prints.
Read more: Today on Modern Art Notes, Tyler Green tells the story behind this album and details some of the reasons the pictures are fantastic.
Hear from Watts: Download Episode No. 8 of The MAN Podcast to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See images of works discussed on the show.
This week’s Modern Art Notes Podcast features painter Philip Taaffe. An exhibition of Taaffe’s most recent work is on view at Luhring Augustine gallery in Chelsea through June 15.
Today MANPodcast.com will feature images of works in Taaffe’s show, his first exhibition of new paintings in New York since 2007. This is Thorn Heads (2013), a painting that’s about eight feet tall and five feet wide. Taaffe and MAN Podcast host Tyler Green talked about Taaffe’s interest in both thorns and Roman references on this week’s show.
Taaffe’s work typically engages cultural, natural and art history, often all at once. It’s in the collection of major museums such as the Museum of Modern Art and the Philadelphia Museum of Art. A 2001 survey of his work was launched by the Galleria Civica of Trento, Italy.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
The Modern Art Notes Podcast is going back on the road for a live-audience taping! Join us at the Pulitzer Foundation for the Arts in St. Louis on Saturday at 11am for a taping with “Donald Judd: The Multicolored Works” curator and former Chinati Foundation director Marianne Stockebrand.
This is the first museum exhibition to focus on Judd’s use of color, and more specifically Judd’s use of color in the 1980s, when he discovered a process that enabled a new kind of sculpture. “The Multicolored Works” will include over 20 Judd sculptures and 30 works on paper and collages from the collection of the Judd Foundation that reveal Judd’s creative process. It will be on view from May 10 through January 4.
If you’re able to come to the taping, please be sure to say hi!
This week’s Modern Art Notes Podcast features Philip Taaffe. An exhibition of Taaffe’s most recent work is on view at Luhring Augustine gallery in Chelsea through June 15. Taaffe has re-designed his website just in time for the show. Among the better artist websites, it features most (if not all) of the paintings he’s made since 1980.
Taaffe’s work engages cultural, natural and art history, often all at once. Taaffe’s work is in the collection of major museums such as the Museum of Modern Art and the Philadelphia Museum of Art. A 2001 survey of his work was launched by the Galleria Civica of Trento, Italy.
This is a detail from Taaffe’s Monocled Cobra (1996). On this week’s show, Taaffe and MAN Podcast host Tyler Green discuss Taaffe’s longtime interest in and use of snakes in his paintings. One reason? This Matisse.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
The second segment of this week’s Modern Art Notes Podcast features William Powhida discussing new work he’s exhibiting at Charlie James Gallery in Los Angeles. The gallery has made available a PDF catalogue of the exhibition.
Powhida’s work typically engages in a pointed critique of the art market and the institutions and individuals who are part of its ecosystem.
This is a detail from Powhida’s 2013 Some Asset Class (Digital) Paintings — Color Fields, a piece Powhida and host Tyler Green discussed at length. They discussed the piece’s origins in artistic practices embraced by the art market and its enablers.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
This week’s Modern Art Notes Podcast features Philip Taaffe. An exhibition of Taaffe’s most recent work is on view at Luhring Augustine gallery in Chelsea through June 15. Taaffe has re-designed his website just in time for the show. Among the better artist websites, it features most (if not all) of the paintings he’s made since 1980.
Taaffe’s work engages cultural, natural and art history, often all at once. Taaffe’s work is in the collection of major museums such as the Museum of Modern Art and the Philadelphia Museum of Art. A 2001 survey of his work was launched by the Galleria Civica of Trento, Italy.
This is Taaffe’s Pine Columns (1988), one of the works he discusses on this week’s show.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
This week’s Modern Art Notes Podcast features Philip Taaffe. An exhibition of Taaffe’s most recent work opens Friday, May 3 at Luhring Augustine gallery in Chelsea. Taaffe has re-designed his website just in time for the show. Among the better artist websites, it features most (if not all) of the paintings he’s made since 1980.
Taaffe’s work engages cultural, natural and art history, often all at once. Taaffe’s work is in the collection of major museums such as the Museum of Modern Art and the Philadelphia Museum of Art. A 2001 survey of his work was launched by the Galleria Civica of Trento, Italy.
On the second segment, William Powhida discusses new work he’s exhibiting at Charlie James Gallery in Los Angeles. The gallery has made available a PDF catalogue of the exhibition. Powhida’s work typically engages in a pointed critique of the art market and the institutions and individuals who are part of its ecosystem. Despite living and showing in New York, he has not been included in a Whitney Biennial because, well… awkward.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
The picture at the top of this post was taken in 1983 by the second guest on this week’s Modern Art Notes Podcast: David Maisel. It’s titled Wall of Ash, Walking to the Crater, Mount St. Helens.
On the program Maisel and host Tyler Green discussed the relationship between Maisel’s picture and Paul Cezanne’s paintings of Mont Sainte-Victoire in Provence. The two examples of Cezannes here are both from 1902-06. The top one is at the Nelson-Atkins Museum of Art in Kansas City; the one on the bottom is from the Philadelphia Museum of Art.
Maisel was on The MAN Podcast to discuss his beautiful new book “Black Maps: American Landscape and the Apocalyptic Sublime,” which is just out from Steidl. An exhibition by the same title of Maisel’s work is on view at the University of Colorado Art Museum through May 11.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast via iTunes, SoundCloud, Stitcher or RSS. See more images of art discussed on the program.
