Fantail Pigeon 1953

Editor: This is "Fantail Pigeon," a 1953 woodcut by Milton Avery. The print is awash in blue against a background of inky black, a striking color combination that seems both simple and strangely modern. What’s your take on it? Curator: Avery worked during a fascinating period, the mid-20th century, when printmaking was undergoing a revival and artists were deeply engaged in questions about abstraction and representation. Think about how institutions like the Museum of Modern Art in New York, founded in 1929, championed modernism and played a crucial role in shaping the public’s understanding and acceptance of abstraction. Avery’s work bridges that gap, doesn’t it? It hints at figuration without fully committing. How does the social role of public art affect you when viewing Avery's subject matters? Editor: I see what you mean! It’s a pigeon, but it’s also about shape and color. The blue almost vibrates against the black. The pigeon becomes less important, perhaps? Curator: Exactly! Consider the context of the Cold War era, too. There was a search for universal languages, visual languages that transcended political divides. Artists sought new ways of communicating. This simplification, this abstraction, it served a purpose. Avery might have been subconsciously participating in that dialogue through art accessible to the public through print. Now how do you interpret its political message in todays art? Editor: That’s fascinating. It definitely adds a new layer to my understanding. I hadn’t thought about how global politics might influence such a seemingly simple image of a pigeon. Curator: I'm glad this new perspective helped you understand this artwork further! Editor: Me too. I see this work in a whole new light!