January 27 – March 24, 2013
Julian Dashper born on 29 February 1960, in Auckland, New Zealand, was regarded as one of New Zealand’s most well known contemporary artists. In 2001 he was awarded a senior Fulbright fellowship to be based as an artist in residence at the Chinati Foundation in Marfa, Texas. Dashper’s work from the last 25 years has recently been the subject of a major touring retrospective in America (the first ever such exhibition for a resident New Zealand artist), curated by Christopher Cook and David Raskin. Dashper’s work focuses on the histories, theories and more general or popular ideas of abstraction (in particular abstract painting), conceptualism and minimalism as a working methodology. The geographical positioning of New Zealand globally and how this country receives and disseminates visual information is also a core subject in Dashper’s work.
His practice manifests itself in various forms, including paintings, unique photographs of paintings, found objects which he infuses with abstract images, various multiples plus limited edition CD and 12˝ poly-carbonate recordings of impromptu performances he has been involved with or heavily orchestrated. Respectful, even affectionate references to local culture and art history are always present in Dashper’s work, whilst his own adaptations of abstraction, conceptualism and minimalism fully acknowledge their lineage within international art.
Dashper is represented in all the major public collections in New Zealand: mca, Sydney; Ludwig Forum für Internationale Kunst, Aachen Germany; Sheldon Museum of Art, Lincoln, Nebraska; The University of Auckland Art Collection; Ulrich Museum of Art, Wichita, Kansas and the Stedelijk Museum in Amsterdam.
Julian Dashper died on July 30, 2009.
Donald Judd, born Donald Clarence Judd on June 3, 1928, in Excelsior Springs, Missouri, the artist served in the United States Army in Korea, then attended The College of William and Mary, Williamsburg, Virginia; the Art Students League, New York; and Columbia University, New York, where he received a B.S. in Philosophy, cum laude, in 1953. Judd’s first solo exhibition was in 1957 at the Panoras Gallery, New York, the same year he began graduate studies in art history at Columbia University. Over the next decade, Judd worked as a critic for artnews, Arts Magazine, and Art International; his subsequent theoretical writings on art and exhibition practices would prove to be some of his most important and lasting legacies.
Beginning in the 1960s, Judd exhibited regularly and widely at galleries in New York as well as across the U.S., Europe, and Japan. During his lifetime, major exhibitions of Judd’s work occurred at The Whitney Museum of American Art, New York (1968, 1988); The National Gallery of Canada, Ottawa (1975); Stedelijk Van Abbemuseum, Eindhoven, The Netherlands (1987); and The Saint Louis Art Museum (1991), among other museum exhibitions. More recent exhibitions have taken place at The Museum of Modern Art, Saitama, Japan (1999); Walker Art Center, Minneapolis (2001); Tate Modern, London (2004) among others. In the early seventies Judd started making annual trips to Baja California with his family. He was very affected by the clean, empty desert and this strong
attachment to the land would remain with him for the rest of his life.
In 1971 he rented a house in Marfa, Texas as an antidote to the hectic New York art world. From this humble house he would later buy numerous buildings and a 60,000 acre (243 km2) Ayala de Chinati Ranch. These properties are now maintained by the Judd Foundation. In 1979, with help from the Dia Art Foundation, Judd purchased a 340 acre (1.4 km2) tract of desert land near Marfa, Texas which included the abandoned buildings of the former U.S. Army Fort D. A. Russell. The Chinati Foundation opened on the site in 1986 as a non-profit art found tion, dedicated to Judd and his contemporaries. Judd’s work in Marfa includes 15 outdoor works in concrete and 100 aluminum pieces housed in two painstakingly renovated artillery sheds.
Donald Judd died on February 12, 1994.
The exhibition is accompanied by a publication with contributions by Steffen Böddeker, Rudi Fuchs and WJM Kok.