Lemon with Holes 1970

Editor: Right now we're looking at Funasaka Yoshisuke's "Lemon with Holes" from 1970, a mixed-media work that seems to incorporate printmaking, tempera, and acrylic paint, perhaps even collage. What strikes me is the contrast between the empty white space and the colorful, almost chaotic border. What do you see here? Curator: The material presence of the 'lemon' interests me, or rather, the *absence* of its traditional representation. Instead, we have negative space, almost a die-cut shape. Consider the holes, or perforations – what purpose do they serve in the process? Are they functional, aiding in the printmaking, or are they intentionally disrupting the surface? Editor: I hadn’t considered the production angle! I just saw them as… well, holes. So, you're saying the process of *making* the artwork is key? Curator: Precisely. The use of mixed media challenges the hierarchy between fine art and craft. Is the print here a base for the "art," or is the "art" generated in the re-contextualization and defacement of the print *itself*, through perforations, collage, acrylic or tempera layering? What does the artist gain or lose in mixing all of these elements, some traditionally industrial or commercial, into the finished project? The means of production become a primary focus. Editor: It really does make you rethink the value of the ‘original’ and how artists play with reproducibility. It makes this lemon a starting point. Curator: Yes. Consumption and distribution. Mass-produced images and mass culture. This lemon could be commenting on commercialization of something supposedly ‘natural.’ Do we consume it, dissect it, or discard it, or, do we reproduce the lemon as a decorative printed sign? Editor: I definitely have a different appreciation now, knowing there's potentially a deeper, almost critical, perspective hidden beneath those bright colors! Curator: Exactly. Examining the material reality and artistic labor reshapes how we understand this work.