Weather-ed OK to print 1983

Editor: This is "Weather-ed OK to print" from 1983 by John Cage, and it seems to be made using a combination of frottage, monoprint, graphite, and watercolors. It’s very subtle and textural; it reminds me of looking at an old, weathered wall. What do you see in this piece? Curator: I see a potent exploration of chance and impermanence, deeply rooted in Cage's philosophy and his engagement with Eastern thought. The layered textures, created through techniques like frottage and monoprint, invite us to consider the processes of decay and transformation that shape our environment and ourselves. Where does that intersect, for you, with his practice in music composition? Editor: I hadn’t thought of it like that, but of course, chance operations were so central to his music! How do the ideas of decay and chance operations act as activism? Curator: By highlighting the beauty and complexity of seemingly random or deteriorated surfaces, Cage challenges us to reconsider our notions of perfection and control. He prompts a shift in perception, suggesting that value and meaning can be found in the overlooked, the accidental, and even the decaying. And beyond aesthetics, who decides which art has worth? Editor: So, it’s about valuing the overlooked and challenging established norms of beauty? That’s powerful. I guess I was seeing it just on a surface level. Curator: Precisely! By drawing our attention to these overlooked aspects, Cage’s art becomes an act of resistance against systems that prioritize standardization and uniformity, politically highlighting inequality and pushing for inclusivity. How do you feel about the print now, viewing it through that lens? Editor: That definitely makes me look at it differently. It’s not just an image of a wall; it's a statement. Thanks, I learned a lot! Curator: And I, from your perspective. Every encounter with art enriches us in unexpected ways.