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Literature: Schellman 92-96 The incomplete set, comprising four aquatints (of 15) on wove paper. Each signed in pencil. Published by the artist, each with the blindstamp of the printer, Styria Studio, New York, with full margins. Each plate 35 1/4 x 24 5/8in (89.5 x 62.5cm) Each sheet 39 7/8 x 29 3/8in (101.3 x 74.6cm). This group of four aquatints from Donald Judd's 1978–79 series (Schellman 92–96) exemplifies his rigorous approach to minimalism and systematic variation. Each print features geometric black forms—vertical lines forming rectilinear enclosures—set against expansive white paper. While appearing uniform at first glance, subtle differences in composition, spacing, and density create rhythmic variation and a sense of depth. Judd's use of aquatint gives the black fields a velvety, saturated texture, emphasizing material presence and precision. Printed at Styria Studio in New York, this incomplete set reflects Judd's concern with modularity and repetition in both two- and three-dimensional formats.
A Group of 4 Aquatints, 1978-79
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101.3 x 74.6 cm
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Literature: Schellman 92-96 The incomplete set, comprising four aquatints (of 15) on wove paper. Each signed in pencil. Published by the artist, each with the blindstamp of the printer, Styria Studio, New York, with full margins. Each plate 35 1/4 x 24 5/8in (89.5 x 62.5cm) Each sheet 39 7/8 x 29 3/8in (101.3 x 74.6cm). This group of four aquatints from Donald Judd's 1978–79 series (Schellman 92–96) exemplifies his rigorous approach to minimalism and systematic variation. Each print features geometric black forms—vertical lines forming rectilinear enclosures—set against expansive white paper. While appearing uniform at first glance, subtle differences in composition, spacing, and density create rhythmic variation and a sense of depth. Judd's use of aquatint gives the black fields a velvety, saturated texture, emphasizing material presence and precision. Printed at Styria Studio in New York, this incomplete set reflects Judd's concern with modularity and repetition in both two- and three-dimensional formats.
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What is site specific art?
Site-Specific Art is a form of artwork created to exist in a particular location, with the artist considering the site as an integral part of the creative process. Robert Irwin was a key figure in promoting this art form in California. Site-Specific Art emerged as a reaction against modernist objects, which were often portable, commodified, and confined to museum spaces. In contrast, Site-Specific Art is inherently tied to its location, challenging the traditional notions of art as a transportable and marketable commodity.