Sculpture and Painting

It’s now widely accepted that Donald Judd’s work contains many illusionistic effects, and some that could be described as painterly—transparent color, colored shadows, reflections and so on. This recognition should pave the way for the arguments I’ve been making in the last few posts. Stephen Melville has a perspective on this. Using Hegel, he argues that sculpture has been dissolved between the two poles of painting and architecture. Judd’s work could represent sculpture tending toward the painterly or optical; certain kinds of installation, maybe including those of Serra, sculpture tending toward the architectural or real space. A very clever rejoinder to the claim that painting is dead.

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