NEW YORK, January 26, 2007—PaceWildenstein is pleased to present Josef Albers / Donald Judd: Form and Color, an exhibition featuring 15 oil paintings by Albers from 1947 to 1967 and 11 sculptures by Judd from 1977 to 1994, on view from January 26 through February 24, 2007 at 32 East 57th Street, New York City. A catalogue with writings and correspondence by Albers and Judd accompanies the exhibition.
Josef Albers / Donald Judd: Form and Color pairs two seminal artists with very different theoretical approaches to color, but bear strikingly similar results. Judd held Albers in high esteem throughout his career, and Albers’ use of color was a great influence on him. Both artists’ also based their compositions on pure geometry, creating formal structures that allowed color to dominate. This intimate grouping of paintings and sculptures provides an in-depth analysis of both artists’ serial nature, their on-going fascination with color theory, and a remarkable awareness of the other’s creative output.
In Albers’ book from 1963, Interaction of Color, he states that “color, when practically applied, not only appears in uncountable shades and tints, but is additionally characterized by shape and size, by recurrence and placement, and so on, of which particularly shape and size are not directly applicable to tones.” Thirty years later, in Some aspects of color in general and red and black in particular, Judd writes, “color is knowledge. As Albers says, it is very subjective, even hard to remember. Color is also objective.”