Utopia Study #17 1975

Curator: Benny Andrews' "Utopia Study #17" from 1975—an ink drawing—beckons us. It’s one of a series where he explores the concept of an ideal world. Editor: There’s a stark simplicity to it. The thin lines suggest a vulnerable, almost embryonic figure nestled within a sort of protective pod. Makes me think of nature, of beginnings, and a slightly melancholy serenity. Curator: Absolutely, that embryonic feeling is key. The materials contribute—ink on paper, it’s immediate and unpretentious. Think of it less as detached observation, and more as Andrews wrestling with these concepts through making, the very act of drawing being part of his quest. Editor: I agree; the lack of color focuses the eye, it’s reduced to essentials—figure, seed pod, rudimentary plants. What is the story Andrews tells using what’s essential in drawing? No material extravagance here. No oil paint concealing process and intent, it's line expressing its need to define the space and figure. Curator: You highlight the labor evident in this piece and that the making process informs meaning. His material choice speaks volumes about making an artwork quickly, like jotting notes about ideas as soon as you have them. Andrews believed that art had a social function, it's very fitting to study the form from a making and process perspective. Editor: There is a sense of tentative hope though, wouldn't you agree? Even the plants outside of this "pod" are not overly detailed but possess unique contours which creates depth on an otherwise two-dimensional piece of paper. Curator: Yes, "tentative" is spot on. Like a seed just beginning to sprout, uncertain of the soil but reaching for the light. Andrews gives us this glimpse of something fresh breaking into reality; the viewer gets to continue that unfolding. It invites the beholder to enter, be active. Editor: Exactly. To actively complete and question, the most important things in making a new world order. Curator: What a remarkable little glimpse of possibility we've shared today, considering process and impact on Andrews’ oeuvre. Editor: Yes, let us now step aside and allow the work and artist to have the last, resounding word.