Donald Judd
15 untitled works in concrete
1980-1984, detail
Chinati Foundation, Marfa, Texas
Photo from

To be ahead of a problem that is based in the social

Late modern can be an expression that are used to make a point of the fact that when society or projects in the social, fails, (…)

Key strategies for late modern artists are situational, performative, and site-specific (Ina Blom, 2007).

The artist Donald Judd disagreed with the idea of art being an object that could be transferred from museum to museum and shown in continually different contexts without losing meaning. 

The late points at ideas that are already proven wrong, and that we know are a failure are still being applied to social and political arguments.  

Predictions or ways of thinking

Thinking that questions the museums’ social function, can be “late”, or doomed among artist and curators and directors. 

Museum programs, projects, exhibitions and other institutions of the 21 centuries are dealing with discourses on social art and its cultures.

Judd’s specific objects

The 15 concrete works that run along the border of the Chianti’s property were the first works to be installed at the museum and were cast over a four-year period from 1980 through 1984.

Each unit has the same measurements — 2.5 x 2.5 x 2.5 meters — and thus is large enough to enter. Here, the notion that the environment is an integral aspect of the work is taken to another level, where each box is both a permeable space as well as a monolithic whole.

The neutral color of the concrete combines with the earth tones of the Texas plain, and the industrial nature of the forms seem intrinsically related to the abandoned air force base on which they are placed.

Inspired, as well, by the Missouri landscape in which the artist was raised, these structures grow naturally out of both Judd’s Minimalist aesthetic and from his early childhood years. In this work, he has achieved a full integration of form and space, art and environment.

Recycling of materials and also the bauhaus style gives a “late” design, where form and design reflect on historical and artistic, well-known and already approved, or tried out ideas. Within the late modern design world and its framework of retro-capitalism, are ideas that were once proven wrong welcome… Although many may say that the Bauhaus style is a thing of the past, is the Bauhaus-inspired “late” design a continuous study of recycling and modularity.

Side-table. Recycled materials, and bauhaus-inspired design. website and web magazine communicate sale of the poster Free design. The web mag is in addition to the sale of the poster introducing the related notions social design, graphic design, and offset. 

The poster is sold as offset, digital file, and as multimedia CD-r.

PosterDesign website and mag is now out!

You can on the site download a productionsheet with specifications.

The site and the poster present and document an independent and non-commercial initiative.

The Free design – poster is a part of an independent artistic and disciplinary research on social art and design, and the topic “free design”. Its research and production grew out of a workshop and collaboration with the independent curator Christiane Erharter and the international studio program OCA ISP in 2003-’04.

The poster design series Free design – poster can now be ordered at

The site and its web mag communicate sale of the poster design as offset and multimedia CD-r and is offering you a reading on the notions social design, graphic design, and offset.

The offset poster, and the multimedia CD-r with digital files can be ordered at

Related to modern utopia, relational aesthetics, eco-design, modular design, information economy, postmodernity, green design, communication theory, globalization, and the topic social design and art, is the poster design adopting its free design from a 70’s popular culture and the conceptualization of a postmodern lifestyle concept.