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The Judd Foundation is working to digitize Donald Judd’s archive, which is in the process of being moved fr om New York to Marfa, Texas, wh ere the artist founded the Chinati Foundation in 1986.

The archive has so far been the main resource for a catalogue raisonné being compiled by the Judd Foundation. With the appointment in September of former studio assistant Ellie Meyer as the catalogue raisonné research manager, the project is moving into a more public phase, focusing on collectors, galleries and institutions.

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Donald Judd may be primarily known for his minimalist sculptures, but a new temporary exhibition at the artist's former private residence in Soho, New York, will shine the spotlight on prints, an under-known facet of his work.

For four decades, Judd thoroughly explored the printmaking process, creating works using aquatint, etching, and screenprinting, with a special focus on woodcuts. The exhibition is curated by the artist's son, Flavin, the co-president of the Judd Foundation.

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A five-story, cast-iron building in New York's SoHo neighborhood was designed by Nicholas Whyte in 1870. Almost a century later, artist Donald Judd bought 101 Spring Street and the address has been associated with him, his family, and his oeuvre ever since. At the time, Judd used the ground floor as his personal gallery, pioneering the idea of “permanent installation” in contemporary art and turning his very living space into a sculpture. When the artist passed away in 1994, access to the building was limited. It wasn’t until Architecture Research Office restored the residence, even down to the patina and chipped paint, that the Judd Foundation opened the building as a public museum.

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