Donald Judd's aluminum works are a profound expression of his minimalist ethos, merging industrial materiality with the purity of form. His dedication to aluminum, among other materials, is emblematic of his pursuit to explore space, form, and the interaction between art, its environment, and the observer.
One of the most iconic examples of Judd's work with aluminum is the installation of 100 untitled works in mill aluminum housed at the Chinati Foundation in Marfa, Texas. These works, created between 1982 and 1986, are displayed in two former artillery sheds that Judd himself reconfigured to accommodate these pieces. The renovation included replacing garage doors with vast windows to allow sunlight to interact with the reflective surfaces of the aluminum pieces and adding a vaulted roof to double the buildings' height. This adjustment was not only practical—to stop leaks—but also aesthetic, transforming the sheds into a monumental canvas that complemented the stark simplicity of the aluminum works (Chinati Foundation) (Gagosian).
Judd's approach to these aluminum pieces was not just about the material but also about how the pieces inhabited the space. Each of the 100 works shares the same external dimensions, yet their interiors are uniquely configured, demonstrating Judd's interest in the variance within uniformity. The interaction of light, shadow, and the material's inherent properties activates these pieces, making them live in the space they occupy (Chinati Foundation).
His engagement with aluminum extended beyond these large-scale installations. Exhibitions have highlighted Judd's use of anodized and painted aluminum in conjunction with other materials like galvanized iron, colored plexiglass, and plywood. These works emphasize the material's qualities and the relationship between the parts and the whole, underscoring Judd's commitment to creating art that exists on its own terms, distinct from notions of metaphor or illusion. Judd's aluminum works, whether as single units or multiple units designed to hang on the wall or stand directly on the floor, are untitled, reflecting his belief in the art's autonomy (Gagosian).
Through these endeavors, Judd transformed aluminum from a common industrial material into a medium of pure expression, challenging perceptions of space, form, and the essence of sculpture itself. His aluminum works, particularly those at the Chinati Foundation, stand as a testament to his vision of integrating art with architecture and nature, creating environments where the art is not merely viewed but experienced.