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Lot Essay
By 1960, Judd began working with his father Roy C. Judd who started carving the woodblocks and printing his sons graphic work himself. Roy C. Judd, a longtime woodworking hobbyist also worked with the artist on the fabrication of a number of early relief paintings and three-dimensional objects.
'Once he [Don] stopped using the tools himself his art developed into what we are familiar with today. When Don was carving the blocks the shapes were organic. In 1961, when Don started using straight lines, the wavy, flowing lines of 1959-1960 began to disappear. Straight lines, however, are hard to make in wood; they require different tools and more planning. This is where Roy came in. Woodworking has been his hobby for years and his hands were mechanically adept. He could make or fix practically anything.'
(F. Judd The Woodcutter Changes Hands, from Donald Judd Woodcuts, Paula Cooper Gallery, New York, 2008.)
'Judds choice of the parallelogram is closely connected to his investigation into objects, which was born of his desire to give things a form without resorting to illusion. Initially, the objects were intended as transformations of his paintings, those specific objects in which real space is admitted, in which the light sought out and defined the shapes...None of the prints belongs in a certain place in a special order, each one stands for itself. The artist has chosen one form. This one is the one he wants to see, with the fascination of the still-life painter who, again and again, can wonder at the sheer delicacy of a hanging lemon-peel, at the subtle distinction between yellow and white.'
(M.J. Jitta, On Series, in Donald Judd, Prints and Works in Editions: A Catalogue Raisonné, pp. 26-27.)
'Once he [Don] stopped using the tools himself his art developed into what we are familiar with today. When Don was carving the blocks the shapes were organic. In 1961, when Don started using straight lines, the wavy, flowing lines of 1959-1960 began to disappear. Straight lines, however, are hard to make in wood; they require different tools and more planning. This is where Roy came in. Woodworking has been his hobby for years and his hands were mechanically adept. He could make or fix practically anything.'
(F. Judd The Woodcutter Changes Hands, from Donald Judd Woodcuts, Paula Cooper Gallery, New York, 2008.)
'Judds choice of the parallelogram is closely connected to his investigation into objects, which was born of his desire to give things a form without resorting to illusion. Initially, the objects were intended as transformations of his paintings, those specific objects in which real space is admitted, in which the light sought out and defined the shapes...None of the prints belongs in a certain place in a special order, each one stands for itself. The artist has chosen one form. This one is the one he wants to see, with the fascination of the still-life painter who, again and again, can wonder at the sheer delicacy of a hanging lemon-peel, at the subtle distinction between yellow and white.'
(M.J. Jitta, On Series, in Donald Judd, Prints and Works in Editions: A Catalogue Raisonné, pp. 26-27.)