White on White 1951

Curator: Here we have Ellsworth Kelly's "White on White," created in 1951. It's a linocut print on paper. What are your first impressions? Editor: Stark, certainly. And incredibly subtle. The slight variations in texture across the surface and the hint of geometric shapes feel almost ghostly. It's about as reductive as you can get, wouldn't you say? Curator: Indeed. This piece really challenges our perceptions. Made during a pivotal point of Kelly’s formative years in Paris, this piece reflects both abstract expressionism and minimalism in the art world at the time. It makes one think about the socio-political state following WWII. What kind of statement might Kelly have wanted to create for the public in this tumultuous time? Editor: The almost industrial character is so appealing. We see two nearly symmetrical semi-circles in this monochromatic print, but more fascinating to me is the craft involved. The labour involved in manually creating this is compelling because it defies mass-produced homogeneity while working within an incredibly limited palette and geometry. Curator: That contrast is key. It exists in an interesting space in time when there was an inclination to move away from art and return to industry. The monochrome artwork begs us to consider that transition, or better yet, where Kelly himself sees art fitting into that transitional society. Editor: Precisely. And the inherent imperfections in the print, the slight shifts in the white, emphasize the handmade quality, pushing back against any notion of pure, unadulterated abstraction that was building within social mindsets. The artwork defies our expectations on an intimate level. Curator: Absolutely. It makes you consider the role of galleries and public acceptance on artwork too, doesn’t it? Editor: Absolutely. Thinking about the art as a social project adds a new depth to my analysis of "White on White". Thanks for helping me break down my perspective and look deeper into this compelling piece, "White on White.”