Excalibur 1960

Editor: This is Norman Bluhm's "Excalibur" from 1960, done with acrylic paint. It definitely evokes a sense of dynamism with all the colors blending. How should one look at this painting, what elements are key here? Curator: The immediate impression is one of layered chromatic interaction. Notice the interplay between the primary colours. The red acts as a bold, almost violent stroke that traverses the canvas. The composition defies a central focal point; the eye is forced to navigate a field of gestural marks. Consider also the use of gravity - see how the paint drips emphasize verticality, which creates linear movements within the flat picture plane. Editor: The drips are fascinating, there's something very physical about them. So it’s all about the paint, the colour, and the movement? What about the title - does that influence how we interpret it? Curator: The title might invite a symbolic reading. However, within the formalist paradigm, we privilege the artwork’s internal language. How do the title and subject relate to the materiality? The 'Excalibur' concept suggests a powerful, mythical force. The energy is realized formally through gestural abstraction and dramatic contrasts. Can the expressive potential of abstract forms communicate concepts traditionally depicted with visual signs? Editor: So, even though it's called "Excalibur," we can primarily explore the tension and balance within the artwork itself, almost divorced from outside interpretation. Curator: Precisely. Focusing on elements such as colour, line, form, and texture allows us to consider how the material construction manifests an emotional experience. We read "Excalibur" as an object instead of an image; the artist's touch becomes part of our process. Editor: I never thought about divorcing artwork from external meaning, but seeing the painting in this way really brings attention to the artistry itself. Curator: Art isn’t only about its story but its physical structure. Hopefully, this focus enhances the appreciation for painting as material, expanding your approach toward other artworks you might encounter.