Untitled 1967

Editor: Al Held's "Untitled" from 1967 really grabs me. The stark black lines forming these geometric shapes against the white feel both simple and complex. What do you see in this piece? Curator: I see an emphasis on the act of making. The bold, almost crude application of paint isn't trying to hide its materiality. This isn't about illusionism; it's about presenting the physical properties of paint on canvas. Held is showing us the labour of production, and pushing against established hierarchies by questioning what constitutes ‘high’ art. Editor: So, the 'unfinished' look is intentional, a feature, not a bug? Curator: Precisely. Consider the context of 1967. There's a lot of societal upheaval. Held, through his artistic choices, engages with a broader critique of industrial production and consumerism. It prompts a reassessment of the value we place on handcrafted versus mass-produced objects. Do these raw, linear cubes hint at the building blocks of something bigger than art, perhaps an indictment of rapid urban development or architectural design trends that took place? Editor: I never considered it in terms of labour and production before. The shapes just felt…there. I understand it better now. Curator: By exploring the physicality of the materials and the artistic process, Held elevates what might be dismissed as 'mere' construction to the level of art, doesn't he? Editor: Absolutely! It really opens up new ways to view abstract art in the 60s. Thank you!