Sunset 

Editor: Here we have Kimon Loghi’s painting "Sunset," an oil on canvas landscape that seems to capture the last vibrant moments of the day. It feels very romantic to me, and contemplative. What do you see in this piece, especially from a broader context? Curator: I'm drawn to the painting's potential dialogue about environmental fragility and the sublime. Consider this: the artist paints *en plein air*. What did experiencing that moment *mean* then, versus what it *means* now given our climate crisis? Did Loghi, or could Loghi, perceive of his act of observation and rendering as one imbricated in broader systems of exploitation and pollution that would eventually bring on cataclysmic change? What choices did he have at the time, or not have, with respect to how he framed and produced the work? Editor: So you’re suggesting the act of painting a sunset isn’t neutral? Curator: Exactly. Representation is never neutral. The aesthetic choices reflect societal values. Think about it: landscapes were historically used to stake claims, to literally *picture* possession of territory, or erase the labor required to build the picturesque scene depicted. Who benefits from these idealized views? How might Loghi's depiction of nature uphold or challenge those power dynamics, and what new layers of interpretation do later generations introduce into this work based on where we stand now? Editor: I never considered the socio-political side of landscape paintings. I was stuck on its immediate aesthetic appeal. Curator: The aesthetic is itself a cultural artifact! Now, think about impressionism, this snapshot style which claims an objective record, but whose gaze still embodies its cultural values. Editor: It’s interesting to consider what choices the artist was or was not aware of making. Thank you; I’m seeing much more complexity here now.