Large Red 1965

Editor: Here we have Ronald Davis’ “Large Red” from 1965, made with acrylic paint. I’m immediately struck by its simplicity – the stark red shapes against the white backdrop. How do you interpret the formal qualities of this work? Curator: Its impact hinges on that precise relationship between form and field. Notice the hard-edged geometric shapes, almost architectural in their construction. They aren't merely 'red shapes', but rather carefully considered arrangements designed to interact with the surrounding negative space, creating a dynamic visual tension. How do you perceive the surface quality and application of paint? Editor: It appears incredibly smooth and uniform, contributing to the overall clean aesthetic. There's a sense of flatness, almost like a print, rather than a heavily textured painting. Curator: Precisely. This smoothness is key to its identity as Hard-edge painting. Davis reduces the medium to its bare essentials. It's less about personal expression through brushwork, as we see in Abstract Expressionism, and more about the formal interaction of shape and color. The absence of gestural marks directs the viewer’s attention towards the fundamental structure and compositional balance. Do you notice how the angles create a sense of instability? Editor: I do now that you mention it. The shapes are dynamic, almost in motion despite their geometric nature. Curator: Indeed, and the interplay challenges our perception, encouraging a visual exploration. I now have a fuller appreciation for Davis’ intention, emphasizing geometric form and pure color relationships. Editor: Me too. Considering the materials, structure, and composition reveals its aesthetic intent and creates a more dynamic image than what appeared to be basic.