By Hel­le Wal­sted — pho­tos by Wi­ch­mann + Bend­tsen Pho­to­gra­phy words by Mil­le Col­lin Fla­her­ty and Pie­ra Bel­lo­ni

101 Spring Street — p. 107

ELLE Decor (Italy) - - English Text -

SoHo. The hou­se whe­re Do­nald Judd li­ved for over twen­ty years is the sym­bol of the Ame­ri­can ma­ster’s con­cept of art. His son Fla­vin ta­kes us be­hind the sce­nes and th­rou­gh emo­tions, in the run up to the ma­jor ex­hi­bi­tion at the MoMA Fla­vin Judd de­scri­bes his fa­ther as a ‘ good’ person. The ar­ti­st, one of the lea­ding ex­po­nen­ts of Mi­ni­ma­li­sm, was al­so a man who knew how to get what he wanted. Ac­cor­ding to his la­st will and te­sta­ment, his art­work had to be kept as it was and whe­re it was, sin­ce it could not be per­cei­ved wi­thout con­si­de­ring its re­la­tion­ship wi­th the sur­roun­ding spa­ce. Fla­vin and his si­ster Rai­ner are bu­sy pre­ser­ving their fa­ther’s work, in­clu­ding the hou­se whe­re they spent their chil­d­hood, to­day open to the pu­blic: in SoHo, a for­mer in­du­strial buil­ding pur­cha­sed in 1968. A far­sighted and pio­nee­ring mo­ve, bo­th for the choi­ce of di­strict, whi­ch in a de­ca­de be­ca­me a ba­se for New York ar­tists, as well as for the idea of li­ving in one sin­gle en­vi­ron­ment that com­bi­ned ho­me, stu­dio and ex­hi­bi­tion spa­ce. On the fir­st floor, bet­ween the kit­chen and the li­ving room, the­re was a con­stant flow of friends and col­la­bo­ra­tors: John Cham­ber­lain, Tri­sha Bro­wn, Dan Fla­vin, Jack We­sley and Da­vid No­vros. In this ho­me, whi­ch the ar­ti­st him­self re­no­va­ted from top to bot­tom, he crea­ted si­te- spe­ci­fic works in the rooms, to become a part of the spa­tial ex­pe­rien­ce. A con­cept of ‘ per­ma­nent in­stal­la­tion’ for ob­jec­ts, fur­ni­tu­re, wall pain­tings. Judd be­gan to ex­pe­ri­ment wi­th ab­stract and ex­pres­sio­ni­st pain­ting. From the ’ 60s on he con­cen­tra­ted on sculp­tu­re, con­cei­ving art as the ex­pres­sion of the re­la­tion­ship bet­ween ob­ject and spa­ce, using a lan­gua­ge ba­sed on sim­ple woo­den struc­tu­res, in­te­gra­ted wi­th other ma­te­rials. “I think the 60’ s and 70’ s we­re a ver­sion of the Re­nais­san­ce and 101 Spring Street is as clo­se as peo­ple can get to that”, says Fla­vin. ” It’s all over the pla­ce from hap­pi­ness to a gloo­my re­co­gni­tion that tho­se days will never co­me again. The sun co­mes in th­rou­gh tho­se win­do­ws brings you back to the pre­sent and the enor­mous beau­ty of what Don ac­com­pli­shed”. So up to da­te, that he will be the star of the top ex­hi­bi­tion for au­tumn 2017 at New York’s MoMA and pre­sent in nu­me­rous group ex­hi­bi­tions in Eu­ro­pe and the USA. — jud­d­foun­da­tion. org

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