Acrobats 1989

Editor: This is Zoe Lerman’s "Acrobats," painted in 1989 using acrylic. The bodies are so fluid, almost melting into the background. It has this raw, almost chaotic energy. What strikes you about it? Curator: Well, looking at it historically, the late 80s were a fascinating time for art, weren't they? We see this resurgence of expressionism, particularly neo-expressionism. There’s a deliberate crudeness, an emphasis on feeling over polished representation, and, critically, a grappling with societal anxieties through the body. How do you see that connection to societal anxiety playing out here? Editor: Hmm, societal anxieties... Perhaps the instability in the figures? The acrobats are almost falling apart, unsupported, maybe hinting at a fragility in the structures of society at the time? Curator: Exactly! And consider the context. The fall of the Berlin Wall was just around the corner, a moment of immense social and political upheaval. How do you think a piece like this would resonate with viewers then, compared to now? Editor: I guess back then, the unease would feel immediate. Now, knowing what happened historically, it's like a prelude to that change. Curator: Precisely. The figures, are they performing, or are they struggling? It challenges the traditional art historical representations of the body, moving beyond mere aesthetics. There's an urgency in this that makes it feel intensely personal, yet very much of its time. What will you take away from experiencing this piece today? Editor: I will definitely consider what’s outside the canvas, the context that informs the artwork, and its role within society at that moment. Thank you for sharing. Curator: It has been my pleasure. Considering art’s place in cultural shifts always brings fresh eyes.