Untitled 1967

Editor: Here we have Ronald Davis’s “Untitled” from 1967, created with acrylic paint and drawing. It has a quirky geometric shape that's sort of playful. What stands out to you? Curator: I see a deliberate exploration of the possibilities afforded by the industrialization of color in the 1960s. Look at the boldness, the synthetic vibrancy. Acrylics offered a radically different surface than oils. What impact does this suggest about our culture's changing relationship to materiality at this time? Editor: So, you're thinking about the context of its creation and how it might reflect the impact of readily available manufactured materials. Curator: Precisely. Consider too the drafting. This is not simply about expressing inner emotion. There's an engineering sensibility present, a clear tie to process. The labor, however distanced, is a key element in our interpretation. Are these clean edges and clearly demarcated zones liberating or constricting? Editor: I see what you mean! It's less about the subject, and more about what the artist *did*. The actual *making* becomes the important thing here. It makes you consider how the artistic process and industrial manufacturing might blur. I appreciate that focus. Curator: Indeed. Examining the making helps us avoid overly romantic readings, moving toward a better understanding of its moment and impact on art. Editor: Thanks! I'll keep that materialist perspective in mind as I learn more.