Untitled c. 1967

Editor: So, this is Louise Nevelson's "Untitled," a wood print from around 1967. It's a pretty striking abstraction, almost architectural in its forms. There’s this interesting tension between the geometric shapes and those delicate lines inside the rectangle. How do you interpret this work, considering the socio-political climate of the late 60s? Curator: Well, in the late 60s, there was a pronounced movement toward accessible art. Prints, like this one, played a role in democratizing art ownership and appreciation, moving art out of elite circles and into broader society. But also, it's wood-- Nevelson's known for assemblage and finding new uses for discarded material. So what statement could she be making by using this in art that will be shared with a wide audience? Editor: That's a great point. The woodgrain itself, and Nevelson's wider work incorporating found material, provides a textural richness that almost grounds the geometric abstraction. I find it fascinating how she's making something new, from pre-existing components. Do you see that sentiment represented across work produced around the same period? Curator: Absolutely. The use of found objects and abstraction reflected a society grappling with industrialization, urbanization, and a desire for authenticity. Artists were reacting to, and often critiquing, these rapid societal shifts through their work, and challenging traditional artmaking in doing so. And I find this is particularly emphasized with the wood base of this piece. What would you have expected with this geometric layout? Editor: Probably paper or canvas, maybe metal. That's interesting, how materials, which we don't always think about as carriers of cultural meaning, have strong associations. Thanks, this really gave me some ideas for my paper! Curator: My pleasure! I find I'm constantly discovering that our interpretation can be influenced just as much by materials, if not more so, than the composition of the piece itself.