Kynaston mcshine biography of donald
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Works Exhibited
About
Everything sculpture has, my work doesn’t.
—Donald Judd
Donald Judd’s radical work and thinking helped shape the look of the late twentieth century and continues to influence artists, architects, and designers worldwide. He has exercised a transformative influence over the ways in which both art objects and practical designs are produced, exhibited, encountered, and used.
Judd was born in 1928 in Excelsior Springs, Missouri. After serving in the United States Army in Korea from June 1946 until November 1947, he returned to the US and attended the College of William and Mary in Williamsburg, Virginia; the Art Students League of New York; and Columbia University in New York, where he completed a BS in philosophy in 1953. He went on to work toward a master’s degree in art history at Columbia. From 1959 to 1965, Judd was a prolific critic for magazines including Arts, Art International, and Art News; he continued to write thro
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Kynaston McShine (1935–2018)
Kynaston McShine, one of the most influential curators of his generation, has died. Born in Port of Spain, Trinidad, on February 20, 1935, McShine earned degrees from Queen’s Royal College and Dartmouth College before attending graduate school at the University of Michigan and then New York University’s Institute of Fine Arts. He taught art history at Hunter College and the School of Visual Arts and received honorary degrees from the San Francisco Institute of the Arts and the University of the West Indies.
In 1965, McShine became the curator of painting and sculpture at the Jewish Museum, where he organized the seminal 1966 exhibition “Primary Structures: Younger British and American Sculptors.” Featuring work by Donald Judd, Ellsworth Kelly, and Anne Truitt, the show was the first-ever museum survey of Minimal sculpture. Commenting on the show, McShine wrote: “The sculptors represented in this exhibition are not consci
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Kynaston McShine, Pioneering Curator of Vanguard Art, Dies at 82
“If you are an artist in Brazil, you know of at least one friend who is being tortured; if you are one in Argentina, you probably have had a neighbor who has been in jail for having long hair, or for not being ‘dressed’ properly; and if you are living in the United States, you may fear that you will be shot at, either in the universities, in your bed, or more formally in Indochina,” the curator Kynaston McShine wrote in the catalogue for his 1970 exhibition “Information” at the Museum of Modern Art in New York.
“It may seem too inappropriate, if not absurd,” he continued, “to get up in the morning, walk into a room, and apply dabs of paint from a little tube to a square of canvas. What can you as a young artist do that seems relevant and meaningful?”
McShine answered that question in his storied exhibition by showing an international cast of artists w