Skyhawk, No.II 1965

Editor: Here we have Benton Spruance's "Skyhawk, No. II" from 1965, rendered in charcoal. I’m struck by the fragmented, almost Cubist quality of the bird’s form, and the contrast between light and dark values. What do you see in this piece, from your perspective? Curator: The aggressive disjuncture you noticed speaks volumes. Consider the context of 1965. The Vietnam War was escalating; anxieties about power, dominance, and even national identity were deeply embedded in the American psyche. This "Skyhawk" isn’t merely a bird; it's a symbol, potentially embodying the complex and often brutal assertions of power. The charcoal, with its stark contrast, mirrors the divisive climate. Do you feel a sense of tension or unease when you look at it? Editor: Definitely, the sharp angles and shading do create a sense of unease, but it also makes me think about the relationship between nature and these larger political issues. Curator: Precisely. The abstraction obscures easy readings, demanding that we grapple with uncomfortable truths. Spruance isn't simply depicting a bird, he is challenging us to consider how we interpret symbols of power, particularly within a time of war and social upheaval. Where do you think the element of "figuration" fits into this symbolic reading? Editor: I think that "figuration" is a means of exploring something that isn't always directly observable, and maybe in this case it is those feelings of "power, dominance and brutality." Now I'm wondering what "Skyhawk, No. I" looks like. Curator: A perfect question, reflecting art's continuous conversations! Thinking about "Skyhawk, No. I", alongside its "sequel", might offer additional insights on Spruance’s perspectives.