10, 2016.

101 Spring Street Short Story

Some of you may know his Soho residence, which is now part of the Judd Foundation. A 5 story industrial building Donald Judd took over in 1968 until his passing in 1994 – a premises only accessible through appointment nowadays (with a long waiting list). A property I’d walked by countless times; lodging with friends nearby during frequent New York fashion market buying trips.

I’d always thought to myself somewhat subconsciously “I’m gonna go in there sometime” but never acted on it. It’s not my style to email ahead of time and go through some pre-determined system or timetable you see. So I just let it be… even though Donald Judd’s compositions have long been an important source of inspiration for me, and this place is one I would not consider missing.

I’m skipping some smaller synchronistic details but I should also mention that I’d just read an interview with Rainer and Flavin Judd (his two kids) in the latest Apartamento Magazine a week or so prior to this trip. Needless to say, the guy was on my mind.

One early fall evening last year I somewhat unexpectedly found myself between rendez-vous. As one ended at a subway entrance with hugs and kisses on a West Broadway corner, I set out in the direction of Nolita, slowly strolling towards a restaurant I was to meet Erin, from Oak, for dinner. Lost in thoughts about my day’s revelations, which seemed to be pushing me towards designing products again (that’s an entirely other story) I noticed there was some sort of function being held at the Judd home. They happened to be celebrating a newly released series of Paintings. A private affair garnished with food and drinks, where the who’s who of the art world nudged elbows and clinked glasses.

A normal reaction would have been to look through the window for a second or two and be on my way, but I decided this was the time I was going in for a visit. Heck I had some time to kill. Security and guest list at the door asked for my name, “Jonah Leslie” I said with credence (even though until that moment I was unaware of this event taking place). “This way sir” a well groomed woman answered after consulting her ipad, as if they’d been waiting for me. I proceeded into the room eyes sparkling with inward smiles.

Behind the bar was a young girl I’d spoken to the day before at a Richard Serra exhibit in David Zwirner’s Meatpacking Gallery. She was an usher there and we discussed the significance of lighting and shadow in Serra’s sculptures. She handed me a beverage as we acknowledged each other grinningly.

I spent the next hour exploring the quiet upper floors of Donald Judd’s New York pied-a-terre – considering his work and life with other guests and Judd foundation scholars. Soaking up the sensorial particulars of his dwelling and sniffing out ghosts of his past.

This episode served another reminder that one of the secrets to manifesting things you want out of love or affection, is to give time for them to happen when and how they’re supposed to – as though life reciprocates the tenderness you request with.

09, 2016.

Donald Judd Complete Writings 1959–1975

This is the complete, authorized collection of Donald Judd’s early art criticism and polemical writings; it includes his landmark essay “Specific Objects” plus more than 500 contemporary art reviews he wrote on key artists and exhibitions of the 1960s.
Complete Writings 1959–1975 was first published in 1975 by The Press of the Nova Scotia College of Art and Design, and since then it has been the primary source for Donald Judd’s early writing. Working as an art critic for the magazines Arts, Arts Magazine and, later, Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects. In his reviews and essays, Judd discussed in detail the work of more than 500 artists showing in New York in the early and mid-1960s, and provided a critical account of this significant era of art in America. While addressing the social and political ramifications of art production, the writings frequently addressed the work of such artists as Jackson Pollock, Kazimir Malevich, Barnett Newman, Ad Reinhardt, Lee Bontecou, Yayoi Kusama, John Chamberlain, Dan Flavin, Kenneth Noland and Claes Oldenburg. Judd’s essay “Specific Objects,” first published in 1965, remains central to the analysis of the new art developed in the early 1960s. Other essays included in this publication are “Complaints I” (1969), “Complaints II” (1973) and his previously unpublished essay “Imperialism, Nationalism and Regionalism” (1975), all of which establish the polemical importance of Judd’s writing.
Donald Judd (1928–94) was born in Excelsior Springs, Missouri, and after having served in the United States Army, attended the College of William and Mary, Williamsburg, Virginia, and Columbia University, New York, where he received a BS in Philosophy, cum laude, in 1953. Studying at the Art Students League, Judd began his artistic career as a painter and transitioned to three-dimensional work in the early 1960s. Throughout his lifetime, in his writings and his work, he advocated for the importance of art and the artist’s role in society.

Donald Judd: Complete Writings 1959–1975
Gallery Reviews, Book Reviews, Articles, Letters to the Editor, Reports, Statements, Complaints
Published by Judd Foundation

Trio A (The Mind is a Muscle, Part 1), Choreographed 1966 and Performed August 14th 1977, by Yvonne Rainer.

Book Club Memo

Yvonne Rainer was a main figure in the avant-garde and explorative New York contemporary dance scene of the mid 1960’s onward. Original member of the Grand Union and co-founder of Judson Dance Theater, Yvonne and her peers works (people like Steve Paxton and Trisha Brown) indirectly informed much of my learnings through their connection to my father, Andrew Harwood. Persons dedicated to the experiential qualities of human life.

Poems challenges thresholds of the inner world- versus the outside one.

80 Pages
6″ x 9″


Pascale 93

Homemade silk screened unisex tees by Pascale 93 while stock lasts.
Available in full size print or, mini chest print -and also in white on black color flip.

Various Keychains

Part of our latest customised sets with Various Keytags by Various Projects.

Photos by Jonah Leslie, 08-2016.



These images are from a little shoot I did whilst at Bates Dance Festival in Maine this past July.

Shot with 35mm film and printed on 8.5″ x 11″ cardboard with approximately 2″ white borders.