Troubador 1998

Editor: Here we have Dan Christensen’s "Troubador," created in 1998. It's an abstract work on paper, employing watercolors and, possibly, oil pastels. I’m immediately struck by the vibrancy of the colors against the grey background; it feels playful, almost improvisational. What do you make of this piece? Curator: The "Troubador" immediately brings my focus to Christensen's deliberate choice of materials. The paper, the layering of watercolor alongside what appear to be oil pastels—this juxtaposition disrupts traditional hierarchies. Consider the societal context: Abstract Expressionism had largely canonized the 'heroic' male painter, splattering grand canvases with oil paint. Christensen, instead, embraces a seemingly more 'modest' scale and medium. Why this conscious move away from traditional materials and monumental canvases? Editor: That’s interesting! I hadn't considered the choice of paper as a deliberate act of rebellion. So, you're saying that the material itself challenges these art world expectations of what 'important' art should be? Curator: Precisely! And look closer at the application. The almost casual, immediate gesture in applying the paint challenges the prevailing emphasis on a certain performative genius within abstract expressionism. Think about the labor involved, and then what is being materially represented; What is being created and presented for mass consumption? Editor: The choice to almost mimic that painting style without embracing all of its aspects is intriguing. It almost forces the viewer to reconsider those initial art movements by thinking about who the expected artists were, versus who actually creates the art and for what purpose. Curator: Indeed. I see now that his manipulation of medium is not only about aesthetics but rather a subversive statement about art world structures and the means of artistic production in the late 20th century. Editor: So, beyond just its visual impact, “Troubador” offers insight into how artists redefine the very nature and definition of art and art history. Thanks for that fresh perspective.