唐納德·賈德是一位有影響力的美國(guó)藝術(shù)家，以其大型而樸實(shí)的雕塑而聞名。雖然許多人認(rèn)為他是極簡(jiǎn)主義藝術(shù)的重要人物，但賈德并不認(rèn)同這種分類(lèi)。他的家具和雕塑探索對(duì)象的特定性質(zhì)，它們的空間性，以及它們與觀眾的關(guān)系?！耙患髌房梢韵袼徽J(rèn)為的那樣強(qiáng)大，”這位藝術(shù)家曾經(jīng)寫(xiě)道?！罢鎸?shí)的空間本質(zhì)上比在平面上作畫(huà)更強(qiáng)大、更具體?！?928年6月3日賈德出生于?？巳麪栁鲓W斯普林斯(Excelsior Springs)，這位藝術(shù)家兼作家后來(lái)搬到紐約，在哥倫比亞大學(xué)(Columbia University)攻讀哲學(xué)學(xué)位，同時(shí)參加晚間的藝術(shù)學(xué)生聯(lián)盟(Art Students League)活動(dòng)。像他的同行托尼·史密斯、丹·弗萊文和羅伯特·莫里斯一樣，賈德也仔細(xì)考慮了他的雕塑被引入的環(huán)境。這位藝術(shù)家于1994年2月12日在紐約去世，享年65歲。連同他的兩個(gè)前在紐約住宅和瑪TX,提供永久展示他的作品,賈德也代表了現(xiàn)代藝術(shù)博物館的收藏在紐約,華盛頓國(guó)家美術(shù)館,佩吉·古根海姆收集在威尼斯,和倫敦的泰特美術(shù)館等機(jī)構(gòu)。

唐納德·賈德（Donald Judd），《無(wú)題》，1991年。?2019紐約賈德基金會(huì)/藝術(shù)家權(quán)利協(xié)會(huì)（ARS）。John Wronn攝。圖片由馬里蘭州波托馬克的格倫斯通博物館和紐約現(xiàn)代藝術(shù)博物館提供。

深刻的逆向思維定義了已故的唐納德·賈德的生活和工作。這位中世紀(jì)的藝術(shù)家拒絕稱他的閑置的三維建筑為“雕塑”或“極簡(jiǎn)主義”。他喜歡用自己創(chuàng)造的一個(gè)術(shù)語(yǔ)來(lái)給它們分類(lèi):“特定的物體”。“這些藝術(shù)品往往像空心的架子和盒子，拒絕被填滿;你不能爬的操場(chǎng);金屬結(jié)構(gòu)安裝在墻上的肖像不是肖像;不能坐的凳子;而那些斜坡根本就不通往任何地方。雖然賈德在顏色、材料、工藝和展覽方法方面的詳細(xì)說(shuō)明中有令人欽佩的完整性，但也有一種極端的挑剔和自負(fù)，涉及到人所做過(guò)的一切。無(wú)論你對(duì)這份工作有什么疑慮，它都想和你爭(zhēng)辯，你會(huì)覺(jué)得這份工作可能會(huì)贏。

唐納德·賈德（Donald Judd），《無(wú)題》， 1960年。?2020 Judd Foundation /藝術(shù)家權(quán)利協(xié)會(huì)（ARS），紐約。由渥太華加拿大國(guó)家美術(shù)館和紐約現(xiàn)代藝術(shù)博物館提供。

3月1日，現(xiàn)代藝術(shù)博物館將舉辦30多年來(lái)的首次賈德博物館回顧展。當(dāng)我和現(xiàn)代藝術(shù)博物館負(fù)責(zé)繪畫(huà)和雕塑的總策展人安·坦金(Ann Temkin)一起參觀新聞發(fā)布會(huì)的時(shí)候，我真想翻白眼，心想:“好吧，伙計(jì)，隨你怎么說(shuō)?！比欢?，賈德的反主流作品也讓我產(chǎn)生了矛盾:我看得越久，就越喜歡他的作品。賈德的藝術(shù)需要制度的空間和觀眾的時(shí)間?；ㄗ銐虻臅r(shí)間在作品上，心就會(huì)被這些硬朗的形式軟化。

唐納德·賈德（Donald Judd）的肖像，得克薩斯州瑪法（Marfa），1992年。?Christopher Felver。由現(xiàn)代藝術(shù)博物館提供。

展覽按時(shí)間順序進(jìn)行，從賈德早期涉足繪畫(huà)開(kāi)始。在1962年開(kāi)始創(chuàng)作之前，他是一名藝術(shù)評(píng)論家，創(chuàng)作過(guò)抽象的油畫(huà)。在生動(dòng)的單色背景下，賈德畫(huà)出了厚實(shí)、明亮、循環(huán)的線條。他開(kāi)始給他的畫(huà)增加深度，增加表面的厚度，并在中間粘上一些物體，比如一個(gè)錫烤盤(pán)和一個(gè)黃色的有機(jī)玻璃“O”。

唐納德·賈德（Donald Judd），《無(wú)題》，1970年。?2020 Judd Foundation /藝術(shù)家權(quán)利協(xié)會(huì)（ARS），紐約。由巴塞爾藝術(shù)博物館和紐約現(xiàn)代藝術(shù)博物館提供。

這些早期的作品大多是有吸引力的，盡管我仍然很好奇——為什么要用烤盤(pán)?他們?nèi)狈Z德最終建立起來(lái)的那種強(qiáng)有力的、獨(dú)立的聲音。如果博物館的標(biāo)簽沒(méi)有提示你，就很難把這些畫(huà)稱為“賈德”。從這些作品轉(zhuǎn)移到賈德的標(biāo)志性書(shū)箱和書(shū)箱，讓這位藝術(shù)家實(shí)現(xiàn)了一種特定的、一眼就能認(rèn)出來(lái)的美學(xué)，這似乎更令人印象深刻，也更來(lái)之不易。

唐納德·賈德（Donald Judd），《無(wú)題》，1973年。?2020 Judd Foundation /藝術(shù)家權(quán)利協(xié)會(huì)（ARS），紐約。由紐約所羅門(mén)·R·古根海姆博物館和紐約現(xiàn)代藝術(shù)博物館提供。

另一部早期作品《無(wú)題》(1963)也同樣突出了賈德的最終成功。這件作品的特點(diǎn)是一個(gè)鎘紅色的l形木條，上面有一個(gè)紫色的漆鋁條。了解了賈德后期的作品，這幅作品看起來(lái)只是“不合適”:表面的不完美和更小的尺度使得這幅作品看起來(lái)像一個(gè)木工活項(xiàng)目，但并沒(méi)有完全成功。

唐納德·賈德（Donald Judd），《無(wú)題》， 1969年。?2020 Judd Foundation /藝術(shù)家權(quán)利協(xié)會(huì)（ARS），紐約。由圣路易斯藝術(shù)博物館和紐約現(xiàn)代藝術(shù)博物館提供。

不管他是否意識(shí)到自己作為一名畫(huà)家的局限，賈德做了一個(gè)精明的舉動(dòng):他放棄了傳統(tǒng)的藝術(shù)技巧、手法。這對(duì)年輕的藝術(shù)家或任何處于職業(yè)生涯初級(jí)階段的人來(lái)說(shuō)都是一個(gè)很好的榜樣:如果你不擅長(zhǎng)某件事，那就繼續(xù)前進(jìn)，開(kāi)發(fā)一些新的東西來(lái)突出你的優(yōu)勢(shì)。

唐納德·賈德（Donald Judd），《無(wú)題》，1973年，1975年增添了第六個(gè)單元。?2020 Judd Foundation / Artists Rights Society（ARS），紐約。由渥太華加拿大國(guó)家美術(shù)館和紐約現(xiàn)代藝術(shù)博物館提供。

現(xiàn)代藝術(shù)博物館的展覽表明，賈德真正的能力在于規(guī)劃、微妙的實(shí)驗(yàn)和概念設(shè)計(jì)。賈德研究哲學(xué)，他的作品缺乏直接的表現(xiàn)力，但卻在概念的嚴(yán)謹(jǐn)性中找到了對(duì)位。20世紀(jì)60年代初之后，賈德制作了模型，并聘請(qǐng)了一些制造商來(lái)實(shí)現(xiàn)他的想法，比如紐約的伯恩斯坦兄弟公司(Bernstein Brothers)和瑞士的萊尼公司(Lehni AG)。

唐納德·賈德（Donald Judd），《無(wú)題》， 1989年。?2020年賈德基金會(huì)/紐約藝術(shù)家權(quán)利協(xié)會(huì)（ARS）。照片?Tim Nighswander / Imaging4Art。由紐約現(xiàn)代藝術(shù)博物館提供。

充分欣賞后來(lái)的畫(huà)廊，充滿了賈德的成熟作品，需要耐心和周到的性格。在賈德(Judd)的《無(wú)題》(Untitled, 1973年)中，你必須欣賞光和影在六個(gè)巨大的、不平衡的膠合板盒子上反射的方式，欣賞木紋的變化，它就像動(dòng)物的皮一樣，就像樹(shù)干一樣。你必須在這些連體彩盒中找到音樂(lè)性，賈德從1984年開(kāi)始制作這些彩盒，并一直制作到1992年，也就是他去世的前兩年。你必須在賈德生命的最后一刻，也就是他退場(chǎng)前的最后一部作品《黑暗的堆?！分姓业秸嬲男了?。你必須仔細(xì)觀察賈德在銅、有機(jī)玻璃和鍍鋅鐵的結(jié)構(gòu)中或周?chē)鶆?chuàng)造的空洞，并思考這些空洞——以及作品中不同的顏色和材料——是如何讓你有這種感覺(jué)的。

唐納德·賈德（Donald Judd），《無(wú)題》，1967年。?2020 Judd Foundation /藝術(shù)家權(quán)利協(xié)會(huì)（ARS），紐約。由紐約現(xiàn)代藝術(shù)博物館提供。

在講述賈德的故事時(shí)，現(xiàn)代藝術(shù)博物館忽略了這位藝術(shù)家生活中的一個(gè)重要組成部分:他在SoHo和Marfa的建筑和室內(nèi)設(shè)計(jì)成就。賈德的許多遺產(chǎn)，以及他作為一名藝術(shù)家所代表的意義，都與他生活、工作的空間緊密相連，并邀請(qǐng)其他藝術(shù)家展示他們?cè)?0世紀(jì)60年代的蘇荷區(qū)(SoHo)和寂靜的德州小鎮(zhèn)(Texas towo)的作品——這些都是簡(jiǎn)約、極簡(jiǎn)主義設(shè)計(jì)的壯舉。雖然現(xiàn)代藝術(shù)博物館的墻上文字分享了關(guān)于這些地點(diǎn)的信息，但由于缺乏照片或娛樂(lè)活動(dòng)，這些空間基本上被排除在圖片之外。我知道，博物館想把重點(diǎn)放在作品上，但在2020年，“賈德”這個(gè)名字比在博物館的白立方畫(huà)廊里展示的作品更能吸引人。

賈德的職業(yè)生涯中最令人印象深刻的方面，最終，是他創(chuàng)造了一種廣泛的精神，從一個(gè)項(xiàng)目到下一個(gè)項(xiàng)目。賈德的作品，就其本身而言，是關(guān)于多余的形式和重新組合，為觀眾提供了表達(dá)自己想法的空間。但更重要的是，賈德?lián)肀Я艘粋€(gè)不屈的堅(jiān)持一個(gè)獨(dú)特的創(chuàng)造性的愿景。這就要求他為自己創(chuàng)造最有利于創(chuàng)造的環(huán)境。受Shaker家具的簡(jiǎn)單性的啟發(fā)，對(duì)外在或浮華的厭惡，以及對(duì)開(kāi)放空間的尊重，Judd在SoHo和Marfa的空間試圖盡可能接近自由、美麗和有思想的生活。

現(xiàn)代藝術(shù)博物館為觀眾提供了下一個(gè)最好的東西。在畫(huà)廊里走得足夠久，那種猶太精神就會(huì)開(kāi)始淹沒(méi)你:它表明，你也可以在那里建立一種真實(shí)的生活，在那里你接觸到的一切，你做出的每一個(gè)決定——從選擇微妙的顏料層次到在一定高度安裝一個(gè)盒子——都很重要。在這個(gè)繁忙的世界里，到處是下意識(shí)的反應(yīng)、刻意的聰明、油嘴滑舌的不屑和雜音，而賈德的作品展讓人感覺(jué)像是一種凈化。

Donald Judd was an influential American artist known for his large-scale and unadorned sculptures. Though considered by many to be an important figure of Minimalist Art, Judd disavowed this classification. His furniture and sculptures explored the specific natures of objects, their spatiality, and their relationship to the viewer. “A work can be as powerful as it can be thought to be,” the artist once wrote. “Actual space is intrinsically more powerful and specific than paint on a flat surface.” Born on June 3, 1928 in Excelsior Springs, MO, the artist and writer moved to New York to pursue a degree in philosophy at Columbia University while attending the Art Students League in the evenings. Like his peers Tony Smith, Dan Flavin, and Robert Morris, Judd carefully considered the environment to which his sculpture were introduced. The artist died on February 12, 1994 in New York, NY at the age of 65. Along with his two former residences in New York and Marfa, TX, which offer permanent displays of his work, Judd is also represented in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Peggy Guggenheim Collection in Venice, and the Tate Gallery in London, among other institutions.

Deep contrarianism defines the late Donald Judd’s life and work. The mid-century artist refused to call his spare, three-dimensional constructions “sculpture” or “minimalism.” He prefered to categorize them with a term he made up: “specific objects.” These artworks often resemble hollow shelves and boxes that refuse to be filled; playgrounds you can’t climb; metal structures mounted on walls at portrait height that aren’t portraits; benches on which you can’t sit; and ramps that lead nowhere. While there’s admirable integrity in Judd’s detailed specifications regarding color, material, process, and exhibition methods, there’s also a supreme fussiness and self-importance that touches everything the man ever made. The work wants to argue with whatever qualms you might have about it, and you get the feeling that the work would probably win.

On March 1st, the Museum of Modern Art opens the first Judd museum retrospective in over 30 years. Walking through the press preview with MoMA chief curator of painting and sculpture Ann Temkin, I wanted to roll my eyes at times as I thought, “All right dude, whatever you say.” Yet Judd’s contrarian works also bring out contradictions in me: The longer I look, the more I love his work. Judd’s art demands significant space from an institution and time from a viewer. Spend enough time with the works, and the heart softens towards these hard-edged forms.

The show proceeds chronologically, beginning with Judd’s early forays into painting. Before he started making objects in 1962, he worked as an art critic and made abstract canvases. Against vivid, monochromatic backgrounds, Judd painted thick, light, looping lines. He began to add depth to his paintings, building up the surfaces and sticking objects such as a tin baking pan and a yellow plexiglass “O” into the center.

These early works are mostly competent, though I’m still wondering—why a baking pan? They lack the strong, individual voice that Judd eventually established. It would be difficult to identify these paintings as “Judds” if the museum label didn’t tip you off. Moving from these works to Judd’s signature stacks and boxes makes the artist’s achievement of a specific, instantly recognizable aesthetic seem that much more impressive and hard-won.

Another early work, Untitled (1963), similarly highlights Judd’s eventual success by contrast. The piece features a cadmium-red, L-shaped wood bar on which a purple lacquer aluminum bar rests. Knowing Judd’s later work, the piece just looks “off”: Surface imperfections and the smaller scale make the work look like a woodshop project that didn’t quite pan out.

Whether or not he recognized his limitations as a painter, Judd made a canny move: He deprioritized traditional artistic skill, gesture, and any evidence of his own hand. It’s a good lesson to young artists, or anyone at the nascent stage of a career: If you’re not good at something, move on and develop something new that highlights your strengths.

Judd’s true abilities, the MoMA exhibition suggests, lie in planning, subtle experimentation, and concept design. Judd studied philosophy, and what his work lacks in immediate expressiveness finds a counterpoint in its conceptual rigor. After the early 1960s, Judd made mock-ups and hired fabricators, such as the Bernstein Brothers in New York and Lehni AG in Switzerland, to realize his ideas.

A full appreciation of the subsequent galleries, filled with Judd’s mature work, requires patience and a thoughtful disposition. You have to enjoy watching the way light and shadow bounce off the six giant, off-kilter plywood boxes in Judd’s Untitled (1973), and appreciate the variation in wood grain that resembles an animal hide as much as it does a tree trunk. You have to find the musicality in the conjoined colored boxes that Judd started fabricating in 1984 and continued working on until 1992, two years before he died. You have to find funeareal poignancy in the black stack that Judd made towards the end of his life, the last work Temkin included in the show before the exit. You have to peer into the hollows Judd created in and around constructions of copper, plexiglass, and galvanized iron, and think about how this emptiness—as well as the works’ varying colors and materials—make you feel.

In telling Judd’s story, MoMA neglects a crucial component of the artist’s life: his architectural and interior design coups in SoHo and Marfa. So much of Judd’s legacy, and the story of what he stood for as an artist, is bound up in the spaces where he lived, worked, and invited fellow artists to show their work in 1960s SoHo and a sleepy Texas town—feats of spare, minimalist design. While MoMA’s wall texts share information about these sites, a lack of photographs or recreations leave these spaces mostly out of the picture. I understand that the museum wanted to focus on the work, but in 2020, the name “Judd” conjures so much more than what can be shown in the white cube galleries of a museum.

The most impressive aspect of Judd’s career, ultimately, is his creation of a sweeping ethos that carries over from one project to the next. Judd’s works, on their own, are about spare forms and recombinations, clearing out space for viewers to project their own thoughts. But more than that, Judd embraced an unyielding adherence to a unique creative vision. This required him to establish environments for himself that were most conducive to making. Inspired by the simplicity of Shaker furniture, a detestation for the extraneous or flamboyant, and a reverence for open space, Judd’s spaces in SoHo and Marfa attempt to get as close as possible to freedom, beauty, and mindful living.

MoMA gives viewers the next best thing. Walk around the galleries long enough, and that Juddian spirit begins to wash over you: You too, it suggests, could build an authentic life where everything you touched, and every decision you made—from selecting a subtle paint gradation to mounting a box at a certain height—matters. In a busy world that can privilege knee-jerk reactions, studied cleverness, glib dismissal, and loud voices, this Judd show can feel like a cleanse.

Note:  some of the images were found on the internet, and belong to their respective owners, if any displayed violates copyrights please contact me and I will remove the image after confirmation.