Donald Judd's exploration of minimalist sculpture extended into the creation of floor boxes, which were conceptualized as early as 1969. These works, often made from anodized aluminum with open ends and lined with plexiglass in various colors like blue, violet, green, and dark brown, exemplify Judd's innovative approach to three-dimensional objects and his interrogation of space and perception. Judd himself noted the distinction between the exterior and interior of these boxes, highlighting the visual and conceptual depth achieved through this contrast. The interior, according to Judd, appears more indefinite and larger than the exterior, creating a unique visual experience that challenges traditional notions of form and space (Judd Foundation).
Throughout his career, Judd consistently rejected traditional bases such as pedestals for his sculptures, preferring instead to place his geometric boxes directly on the floor. This decision not only facilitated a more intimate interaction between the work, the space, and the viewer but also emphasized the objects' inherent qualities without the mediation of a supporting structure. By doing so, Judd engaged viewers in a bodily experience, prompting them to navigate and perceive the artwork in real time and space (Dia Art Foundation).
One of the defining characteristics of Judd's floor boxes is their fabrication, which he often delegated to specialized technicians. This approach stemmed from his interest in industrial materials and processes, aligning with his minimalist aesthetic that emphasized clarity, objectivity, and the rejection of compositional hierarchy. The use of industrial materials and the absence of the artist's hand in the creation process underscored the objective presence of the sculptures, which Judd intended to stand unequivocally in their own right, free from historical or metaphorical associations (Dia Art Foundation).
Judd's insistence on the direct placement of these objects on the floor was aimed at establishing a direct relationship with the surrounding space. This approach not only challenged conventional display methods but also underscored the importance of the sculpture's integration with its environment. The Saint Louis Art Museum, for example, houses a series of Judd's aluminum boxes from 1969, which are aligned at equal intervals and lined with blue Plexiglas. This installation highlights Judd's emphasis on seriality and the equal significance he attributed to each component of his compositions (Saint Louis Art Museum).
In essence, Donald Judd's floor boxes are a testament to his revolutionary vision for sculpture and space. Through these works, Judd articulated a new paradigm for understanding and experiencing three-dimensional objects, one that continues to influence contemporary art practice.