Colophon 1963

Editor: Here we have Rudy Pozzatti’s "Colophon," created in 1963, employing mixed media like lithography and collage. It's striking how much the textures command your attention; almost like aged parchment. What stands out to you when you look at this work? Curator: Immediately, I'm drawn to the means of production detailed here. Look at the dedication to the lithographic process itself - the acknowledgement of the stone preparation, the hand printing, the mention of Tamarind Lithography Workshop. This shifts our understanding away from sole authorship to the collaborative labour involved. Do you think that changes how we should view this work? Editor: Definitely. Seeing "All stones have been effaced" makes it feel like you’re witnessing the final stage of a very specific, material process, one that is now completed. It almost elevates the ephemerality of printmaking. Curator: Exactly. It's also gesturing towards the materials, too: paper, textile even. Typography, carving and print blend the lines between fine art and craft traditions. Think of the implications: is Pozzatti trying to make a comment about the role of the artist versus the artisan? Editor: That's a great point. Considering the social context of the '60s, could he be subtly challenging the art establishment's values through emphasizing these material aspects? Curator: Precisely! It demands we question the hierarchy embedded within the art world, valuing the labour and material processes usually deemed secondary. What’s intriguing, isn’t it, how such an apparently simple piece can unveil complex themes. Editor: Absolutely! I had originally just focused on the textual aspect, but you've given me so much to consider regarding process and social commentary. Thank you.