Untitled [plate LXXII] 1958

Curator: Let's talk about Joan Miró's "Untitled [plate LXXII]" from 1958. It’s a lithograph on paper. Editor: It feels playful, almost like a child's drawing. I'm intrigued by the textured quality of the printed shapes. What can you tell me about Miró's process here? Curator: Well, a materialist approach pulls back the curtain on that seemingly spontaneous "childlike" expression. Think about the lithographic process itself—the grinding of the stone, the greasy crayon, the precise application of acid. This wasn't effortless. The lithograph democratized art production, allowing for wider circulation. How might that accessibility shift our understanding of the artwork’s value? Editor: I see what you mean. It wasn't just a free-flowing expression; it was a deliberate process that made art more available. Does the rise of printmaking then change the role of the artist, maybe into more of a producer? Curator: Exactly. And think about the paper itself. Was it a costly, handmade sheet or mass-produced? That would influence our reading. We are challenged to view art as entangled with systems of labor, value, and circulation. Where do you think Miró, engaging with this printing technique, positioned himself vis-à-vis high art? Editor: This perspective makes me appreciate the work in a totally new light, by relating the work not only to Miró, but the process. Now, every colour choice and line makes me think more about the system from which they originated. Curator: Indeed, it pushes us to consider the artist not as an isolated genius, but as someone engaging with material conditions and social structures. Editor: This reframing shifts my focus away from searching for inherent meaning towards analysing the broader material and cultural context. Thanks. Curator: A useful shift, and a crucial consideration when looking at any artwork!