![]() The work is exceptionally intriguing and presents a conception of multiple distinctions within a single context, itself in turn manifold. ![]() The proximity and the extent of a color change the scale of an area, the type of contrast and the color itself. Further because of the low position of the squares on the canvas the bands at the top, the bottom and the two sides vary which allows the complex development of a hierarchy of scale and a range of close colors and values. The unbounded color and the final disparity belie the apparent rigidity of the geometry and provide the central lyric and exultant ambiguity of the painting. An outer medium-gray square contrasts immensely with the warm ones and contains them. The color of the central orange square, fairly intense and slightly red, glows and expands into the next, light-cadmium-orange square, which in turn, but with declining strength, influences a square somewhere between raw sienna and yellow ocher. This painting is the typical four circumjacent squares offset to the lower edge. One of the numerous Homage to the Square series, Luminant, elucidates the similar subtlety of the rest. ![]() Josef Albers: The continued expansion of this lambent geometry is very impressive. ![]() They are reprinted here with permission from Judd Foundation. The following essays (1959–1964) were published in Donald Judd, Complete Writings, 1959–1975, the Press of the Nova Scotia College of Art and Design, 1975. ![]()
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