(S. 193-199)

Donald Judd’s Untitled (S. 193-199) series is a compelling exploration of form and colour, comprising seven woodcut prints that exemplify the artist's rigorous approach to minimalism. The prints, titled Untitled (S. 193) through to Untitled (S. 199), showcase Judd’s signature geometric precision and his interest in the spatial dynamics between object and viewer. The prints are executed in stark, vibrant colours that enhance their visual impact and underscore the clarity of their construction.

Donald Judd Untitled (S. 193-199) for sale

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Meaning & Analysis

Donald Judd, renowned for his contributions to Minimalism, crafted the Untitled (S. 193-199) series to investigate the relationships between material, space, and perception. Each print in the series is marked by a meticulous attention to detail, a hallmark of Judd’s practice, where form is reduced to essential geometries.

Each print in the series features rectangular forms intersected with lines in various compositions. These shapes are layered and arranged in a manner that foregrounds the physical qualities of depth and surface. Judd’s arrangement of simple forms and vibrant colours emphasises the self-referential nature of the works, inviting the viewer to contemplate these compositions subjects in their own right, without use of symbolism or metaphor.

The series is notable for its use of bold colours which are applied to different materials, including metals and acrylics. The choice of material is not arbitrary; it complements the purity of the colours and enhances the visual and tactile qualities of the works. This interaction between material and colour is crucial in activating the space around the artworks, making the viewer’s environment a part of the perceptual experience.

Judd’s compositions are designed to engage with the surrounding space, creating a dialogue between the artwork and its environment. This interaction is integral to experiencing his works, as it underscores the importance of the viewer’s movement and viewpoint. The spatial considerations in Untitled (S. 193-199) invite an engagement that is both physical and contemplative, where the simplicity of the forms belies a complex interplay of shadows, light, and perspective.

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