Viewing page 13 of 30

This transcription has been completed. Contact us with corrections.

3 [[strikethrough]] c [[/strikethrough]] d With Judd there is no confusion between the anthropomorphic and the abstract. This [[strikethrough]] makes for [[/strikethrough]] an increased consciousness of structure, which maintains a remote distance from the organic. The "unconscious" has no place in his art. His crystalline state of mind is far removed from the organic floods of "action painting". He translates his concepts into artifice sof fact, without any illusionistic representations.

Space in Judd's art seems to belong to an order of increasing hardness, not unlike geological formations. he has put space down in the form of deposits. Such deposits come from his mind rather than nature. Instead of bringing Christ down from the cross, the way the painters of the Renaissance, Baroque, and Mannerist periods did in their many versions of The Deposition, Judd has brought space down into an abstract world of mineral forms. He is involved in what could be called, "The Deposition of Infinite Space". Time has many anthropomorphic representations, such as Father Time, but space has one. There is no Mother Space or Father Space. Space is nothing, yet we all have a kind of vague faith in it. [[strikethrough]] Artists talk about "space" in generalities, the way religious people might talk about Jud. All such sensual [[?[[ are [[?]] Judd's art in some way is about spaciousness.[[/strikethrough]] What seems so solid and final in [[strikethrough]] his [[/strikethrough]] Judds work is at the same time elusive, and brittle.