The Concise Oxford Dictionary of Art and Artists (244 page)
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Authors: Ian Chilvers
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Judd , Donald
(1928–94).
American sculptor and writer on art, one of the leading exponents of
Minimal art
. From 1959 to 1965 he earned his living as an art critic, working mainly for
Arts Magazine
. He began his career as a practising artist as a painter, but in the early 1960s he took up sculpture with heavily textured monochrome reliefs. In 1963 he began making the type of work for which he is best known—arrangements of identical rectangular box-like shapes cantilevered ladder-like from a wall. Initially he worked mainly in wood, but after a successful exhibition at the Green Gallery, New York, in 1963–4 he began having them industrially manufactured in various metals (or sometimes coloured perspex). In 1970 he began making works for the specific space in which they were to be exhibited, and in 1972 he began producing outdoor works. In spite of great financial success, Judd (who was notoriously touchy) disliked the New York ‘art crowd’ and in 1973 moved to Marfa, Texas, where he converted the buildings of an old army base into studios and installation spaces.
Donald Judd: Complete Writings
, 1959–75 was published in 1976.
American sculptor and writer on art, one of the leading exponents of
Minimal art
. From 1959 to 1965 he earned his living as an art critic, working mainly for
Arts Magazine
. He began his career as a practising artist as a painter, but in the early 1960s he took up sculpture with heavily textured monochrome reliefs. In 1963 he began making the type of work for which he is best known—arrangements of identical rectangular box-like shapes cantilevered ladder-like from a wall. Initially he worked mainly in wood, but after a successful exhibition at the Green Gallery, New York, in 1963–4 he began having them industrially manufactured in various metals (or sometimes coloured perspex). In 1970 he began making works for the specific space in which they were to be exhibited, and in 1972 he began producing outdoor works. In spite of great financial success, Judd (who was notoriously touchy) disliked the New York ‘art crowd’ and in 1973 moved to Marfa, Texas, where he converted the buildings of an old army base into studios and installation spaces.
Donald Judd: Complete Writings
, 1959–75 was published in 1976.
Juel , Jens
(1745–1802).
Danish painter. He had a distinguished career both in Denmark and in his travels throughout Europe—he studied in Hamburg and in the 1770s worked in Rome, Paris, Dresden, and Geneva. After settling in Copenhagen he became court painter (1780) and a professor at the Academy, where
Friedrich
and
Runge
were among his pupils. Juel painted landscapes,
genre
scenes, and still lifes (particularly flowers), but he is most renowned for his sensitive portraits.
Danish painter. He had a distinguished career both in Denmark and in his travels throughout Europe—he studied in Hamburg and in the 1770s worked in Rome, Paris, Dresden, and Geneva. After settling in Copenhagen he became court painter (1780) and a professor at the Academy, where
Friedrich
and
Runge
were among his pupils. Juel painted landscapes,
genre
scenes, and still lifes (particularly flowers), but he is most renowned for his sensitive portraits.
Jugendstil
.
.
Julian , Rodolphe
Junk art
.
.
Art constructed from worthless materials, refuse, rubbish, and urban waste. In so far as Junk art represented a revolt against the traditional doctrine of fine materials and a desire to show that works of art can be constructed from the humblest and most worthless things, it may be plausibly traced back to Kurt
Schwitters
and the
collages
of
Cubism
. However, it is not possible to speak of a Junk movement until the 1950s, particularly with the work of Robert
Rauschenberg
, who in the mid 1950s began to affix to his canvases rags and tatters of cloth, torn reproductions, and other waste materials (see
COMBINE PAINTING
). The name ‘Junk art’ was first applied to these by Lawrence
Alloway
and was then extended to sculpture made from scrap metal, broken machine parts, used timber, and so on. The Junk art of the USA had its analogies in the work of
Tàpies
and others in Spain,
Burri
and
Arte Povera
in Italy, and similar movements in most European countries and in Japan, where the litter and refuse left over from the war was sometimes converted to artistic use. In the case of Rauschenberg and others the use of Junk material was objective and unemotional. In other instances, including the Junk sculpture of California and the work of Burri and Tàpies, a nostalgic emotional suggestion was conveyed by the use of discarded machine parts, rotted beams and rusted metal, torn and dirty textile scraps, and the detritus generally of industrialized urban life.
Schwitters
and the
collages
of
Cubism
. However, it is not possible to speak of a Junk movement until the 1950s, particularly with the work of Robert
Rauschenberg
, who in the mid 1950s began to affix to his canvases rags and tatters of cloth, torn reproductions, and other waste materials (see
COMBINE PAINTING
). The name ‘Junk art’ was first applied to these by Lawrence
Alloway
and was then extended to sculpture made from scrap metal, broken machine parts, used timber, and so on. The Junk art of the USA had its analogies in the work of
Tàpies
and others in Spain,
Burri
and
Arte Povera
in Italy, and similar movements in most European countries and in Japan, where the litter and refuse left over from the war was sometimes converted to artistic use. In the case of Rauschenberg and others the use of Junk material was objective and unemotional. In other instances, including the Junk sculpture of California and the work of Burri and Tàpies, a nostalgic emotional suggestion was conveyed by the use of discarded machine parts, rotted beams and rusted metal, torn and dirty textile scraps, and the detritus generally of industrialized urban life.
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