The furniture is comfortable to me. The parts of the US economy that are able to compete internationally are primarily the state-subsidized ones: capital-intensive agriculture (aThe same is true of other industrial societies. The various interests in form will be consistent. Between 1970 and 1980, 112 Greene Street, a raw space provided by artist Jeff Lew, was used by 112 Workshop (the precursor to White Columns) for installations and performances by artists such as Gordon Matta-Clark, Trisha Brown, Vito Acconci, Laurie Anderson, Richard Serra, Philip Glass and many more.SoHo quickly became an artists community that fought for its preservation in the New York real estate battle. Most businesspeople think that such slight altruism is part of their advertising. But the difference between art and architecture is fundamental. This was for myself but also was the first furniture to begin as furniture to sell. Lower prices require great numbers, which require a large distribution. Instead, this was turned into Victorian furniture, also crowded into matching rooms. A few months ago there was a curious article in Lufthansa’s magazine justly praising Braun and its chief designer, Dieter Rams, praising “German” design of course, but explaining that “German” design was now second to “Italian” design (consumer products are not where nations differ in design) but that Germany would catch up. On the other hand the art business is such a one-horse business that something larger seems better. Five years ago I designed some light chairs and two tables in solid wood.
A straight chair is best for eating or writing. Due to the inability of art to become furniture, I didn’t try again for several years. And always surprisingly, and always everywhere, new Japanese and Korean architecture show no fundamental lessons learned from their past architecture, the same as in Paris. The two small children played and slept in one of the four rooms. Conventions are not worth reacting to one way or another. At present we would have to debase the construction of the existing furniture for mass production. It is the companion volume to the critically acclaimed and bestselling Donald Judd Writings. A few years ago, first for use, then for sale, desks, tables, and a bench were made in Cologne of clear plywood. Most of the other furniture in production, such as Breuer’s Wassily chair and Le Corbusier’s furniture, is an early civilized and almost forgivable sentimentalizing of the machine. The art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness, and scale as a chair. in philosophy. Good office furniture is also difficult to find. Modern, progressive furniture has been corrupted into the opposite. Old good ideas made new and shiny are now a dismaying precedent. The particulars slowly created the general forms that could not be directly transferred.
The furniture is furniture and is only art in that architecture, ceramics, textiles, and many things are art. These also, sometimes with the plywood coated commercially with a color, as well as chairs like those in pine, are made in New York.I am often asked if the furniture is art, since almost ten years ago some artists made art that was also furniture. And “free enterprise” is a slogan of the Pentagon.Free trade is fine for economics departments and newspaper editorials, but nobody in the corporate world or the government takes the doctrines seriously. Donald Clarence Judd was born on June 3, 1928 in Excelsior Springs, Missouri. As bad ideas should not be accepted because they are fashionable, good ideas should not be rejected because they are unfashionable. There was no furniture and none to be bought, either old, since the town had not shrunk or changed much since its beginning in 1883, or new, since the few stores sold only fake antiques or tubular kitchen furniture with plastic surfaces printed with inane geometric patterns and flowers. He wrote extensively on the importance of land preservation, empirical knowledge, and engaged citizenship.Judd developed his ideas concerning the permanent installation of artwork first in New York, at 101 Spring Street, a five-story cast-iron building he purchased in 1968. Beginning from a fixed construction cost still leaves the questions of too little to the designer and too much to the producer-organizer-wholesaler and to the retailer.The roughly made pine furniture made by me and others in Texas was made first, with a few exceptions. Back of this was the assumption that a good chair was only a good chair, that a chair could only be improved or changed slightly, and that nothing new could be done without a great, strange effort. Upon his return to the United States, Judd studied philosophy and art history at Columbia University and painting at the Art Students League. A work of art exists as itself; a chair exists as a chair itself. As in politics, this furniture is not traditional and conservative but is an imitation of past furniture. The only things as bad are the plastic bottles for liquid soap. The intent of art is different from that of the latter, which must be functional. In the United States the television machine began disguised and continues as at once the myth of the machine and the myth of the old home. By the 1960s, Judd had abandoned painting, having recognized that, "actual space is intrinsically more powerful and specific than paint on a surface;" that is, he believed that a work that shares three-dimensional space with the beholder calls more attention to itself than an image that is hung on the wall.
The only exception is the bentwood furniture developed by Thonet, which became less fashionable in the 1920s but has continued to be made until now by Thonet and others. The bed was designed so that the lumberyard could cut the few different lengths to size and I could then nail them together in place. More furniture developed from this beginning.It’s impossible to go to the store and buy a chair. Furniture and architecture can only be approached as such.
These spaces, including studios, living quarters, and ranches, reflect the diversity of his life’s work.
The house was quartered into eleven-by-eleven-foot rooms. Donald Judd studied extensively in painting, sculpture, and art theory at the Art Students League, the College of William and Mary, and Columbia University, where he received his degree in philosophy in 1953 and his MA in art history in 1962. The sheets of plywood are cut as little as possible and are slipped together, interlocking, like a children’s toy, an old idea.
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