Composition brune et rouge 1964

Editor: Serge Poliakoff's "Composition brune et rouge," created in 1964, strikes me with its almost brutal application of color and geometric shapes. What processes and materials do you think are most relevant to understanding its impact? Curator: From a materialist perspective, I find the printmaking aspect of "Composition brune et rouge" especially compelling. Look closely at the layered inks; these reveal a process involving considerable physical labor and technical skill. The printmaking medium democratizes art by enabling wider distribution, but also embeds within it the traces of its production – the marks of the printing press, the specific textures achieved by the artist. How do these qualities connect to your initial impressions? Editor: It's true, thinking about it as a print does change things. I hadn't initially considered the repetition inherent in printmaking and how it challenges ideas about the artist’s singular gesture. It feels less spontaneous, more… calculated? Curator: Exactly! The planned, methodical aspect speaks volumes. Poliakoff deliberately engages with the means of production. Consider also, the role of the printing workshop, the assistants involved, and the implied audience for such multiples. Can you see how these aspects enrich the conversation around art and labor? Editor: I hadn't really thought about all the labor involved, only the artist's vision. It really does shift the focus. Curator: Reflecting on these prints broadens our appreciation. It isn’t just about aesthetic experience but an investigation of the socio-economic conditions in which art is produced and circulated. Editor: That’s a really useful point of view. I will definitely be looking at artworks from a more materialist perspective from now on.