Art Journal, College Art Association, New York, Vol. 77, no. 3 Fall 2018

The Power of Inclusion in Donald Judd’s Art: Observations by an Artist, Gail Hastings, pp. 48-62.
Artist’s Project: Space Practising Tools, Gail Hastings, pp. 63-75.

A dark void is the denouement of . . . two wood panels stained light cadmium red and joined at right angles.1 Each red panel has a small black circle at its center, is of equal height, but of different width. The panels join at a perpendicular that juts toward us. Red sinks behind the surface of the wood, embedded. It saturates, without covering or obscuring the wood. At first, the black circles look to be dense solids against the cadmium red.

Gail Hastings

The blackness is so dense it obliterates any sign of wood grain within each circumference. Then, we see each circle’s black defy the logic of solid pigment. Instead of remaining opaque, the circles empty into a dark vastness of two hollow depths. Spatial illusion, traditionally constructed with pigment, gives way to the inbuilt construction of physical space. Instead of artistry, the circles are black through the everyday unlit emptiness of reality.

See: The Power of Inclusion in Donald Judd’s Art: Observations by an Artist

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