Upper Gallery and Mezzanine
In the case of Donald Judd (American, 1928-1994) woodblock prints shown here include incised lines in the wooden plates allowing variations for the viewer to experience a sequence and an evolution. The sequence was predetermined and labeled to display in this way. The artist’s desire to not only have works of art made by his own design he also felt strongly about their presentation placement. The woodblock series is formed by removing the wooden plate surface with lines and spaces removed to show the voids and this process was aided by the artist’s father, Roy Judd, who himself was a woodworker who understood both what Donald Judd’s intention was and the grain in the wood. These prints are a continuum of richly inked solids and paper voids. They are rhythmically subdivided into halves and thirds, creating numerous possibilities of space for the viewer to inhabit.
The viewer is invited to choose which rectangle to visually inhabit and to imagine the numerous possibilities of space created by a single color and just a few elegant, precisely carved lines.
– PHILLIPS Auction, in 2021 located in NYC, 432 Park Avenue
Two other artists from the collection on view in this exhibition include Madeline O’Connor (American, 1931-2002) who was born in Refugio, Texas, and lived her life in Victoria, Texas. And Dennis Kemmerer (American, b. 1956) a local artist who taught art for C.C.I.S.D. in Chula Vista Academy of Fine Arts for decades. Both are spartan in their art practice. O’Connor came to live in Victoria, Texas as a child, where her elementary building one day became her studio, which still sits today as if a time capsule. Her art and approach to art-making were thoughtfully considered and researched and evolved into a careful approach in color, form, and surface that was very personal and a direct correlation with her observation of the natural grace in the world and of her own being.
Dennis Kemmerer also used materials that he defined and refined not to tell a story, but to be impactful in their precision, their materiality, and their physical stance as objects and ideas.
The artists themselves valued factual circumstances materials choice, honesty to the choice, and use of the paper, paint, wood, construction, all were part of their consideration. Many of these works were given to the museum by donors familiar with the artist, while the artist was here to discuss them. In some cases, former directors, or the artist, himself offered the gift of their art. We are all the beneficiaries of the considerations of form and space in two dimensions.
Deborah Fullerton, AMST Curator of Exhibitions
Similar to the work of Donald Judd on display in the exhibition “Mining the Minimal,” these songs define and activate the space around them to transport the audience to other times, worlds, and dimensions.
Photo Restriction: Photography allowed in the exhibition (no flash, no tripods)
Touch Restriction: Non-touch exhibition
Exhibition Language(s): English
This exhibition is accessible by both elevator and staircase.
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