Donald Judd's Specific Objects and the Art of Installation.
In his landmark essay, “Specific Objects,” published in Arts Yearbook 8, 1965, Donald Judd emphatically declares that “most of the best new works of the past few years have been neither painting nor sculpture.”As he elaborates on their similarities and differences in accordance with his rejection of residual European influences in favor of the new application of fabricated objects and.
Donald Judd was an American artist, whose rejection of both traditional painting and sculpture led him to a conception of art built upon the idea of the object as it exists in the environment. Judd's works belong to the Minimalist movement, whose goal was to rid art of the Abstract Expressionists ' reliance on the self-referential trace of the painter in order to form pieces that were free.
Objecthood and Theatricality in Minimalist Sculpture In his essay “Specific Objects”, the sculptor Donald Judd defines Minimalist art as somewhat in between sculpture and painting. Judd rejected the severe distinction between the two genres established by Modernism.
In his classic essay Specific Objects, Donald Judd described an art that is “neither painting nor sculpture,” and which “doesn’t constitute a movement, school, or style.” Judd published the text in 1965, at a time when his own body of work had only just begun to reject the conventions of gallery appropriateness.
Donald Judd identified his work as “specific objects,” a term intended to describe his three-dimensional works that were divorced from organic lives and instead dependent on architecture and geometry. In his essay “Specific Objects,” (1965) Judd stated, “actual space is intrinsically more powerful and specific than paint on a flat.
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