Nomads 1960

Editor: Here we have Robert Goodnough’s "Nomads," created in 1960. It seems to be ink on paper, a chaotic burst of lines. What can you tell me about it? Curator: Goodnough's "Nomads" presents a compelling case for examining the process and materiality of art production. Notice how the ink, the very substance of the work, is applied. The gestural marks, splatters, and drips aren't just about conveying an image, but reveal the artist’s physical engagement and the material qualities of ink and paper. Editor: So, the emphasis isn’t necessarily on the subject, even if it is called “Nomads?" Curator: Precisely. Consider this within the broader context of Action Painting. It challenges the traditional separation between artistic labor and the finished product. Instead of prioritizing a polished final image, the artist spotlights the act of making and all that encompasses -- his own movement, the flow of the ink, even the absorbency of the paper becomes part of the aesthetic experience. Think of it as democratizing the art-making process. Are we meant to focus on one thing, or everything? Editor: It seems less about a product for consumption, and more about the energy and action. Curator: Right, how do we interpret value then, or artistic intent? It begs questions about authenticity and the commodification of art. We appreciate “Nomads” not for its representational skill, but for how it reveals the artist’s process, the material's behavior, and, consequently, what we value as "art". Editor: That gives me a whole new perspective on the piece. It’s less about the 'what' and more about the 'how' and 'why'. Thanks. Curator: Indeed. By focusing on process and material, we’ve hopefully shed light on the broader questions of artistic creation, consumption, and value itself.