Midsummer Dreams 2020

Editor: Carrie Graber's "Midsummer Dreams," created in 2020, is an oil painting depicting two women by a pool. The bold, somewhat unnaturalistic lighting gives the whole scene a surreal and slightly unsettling feel, despite the leisurely setting. What do you see in this piece? Curator: Beyond the surface of leisure and languid beauty, I see an exploration of contemporary femininity, race and class. Consider the gazes of the two women, which do not meet. How does that inform their relationship and perhaps a broader commentary on female solidarity or the lack thereof in certain social contexts? Editor: That’s interesting. I hadn’t thought of it in terms of social commentary. The figures seemed so still and self-contained. Curator: Exactly. It’s that stillness, bordering on the performative, that invites us to think critically about how women, particularly women of color, are often staged and observed. The setting, while idyllic, also feels incredibly constructed, even sterile, which reinforces this idea of performance. Does the architectural backdrop perhaps symbolize a kind of gilded cage? Editor: I see your point. The rigid geometry of the building clashes with the softness of the figures, creating a tension that amplifies this feeling. Curator: Precisely. Graber prompts us to question not just what we see, but *how* we see and the historical baggage that informs our perceptions of women in art. Editor: So, this isn’t just a pretty picture of women by a pool; it’s a statement about the complex ways in which women navigate societal expectations? Curator: Absolutely. And how those expectations are intrinsically linked to issues of race and class, beautifully disguised as an “idyll”. Editor: That really reframes how I look at it. I appreciate your insight into the social and historical narratives woven into what I initially perceived as just a calming painting. Curator: It’s a constant unravelling, a re-evaluation – that is what keeps us engaged in the power of art.