Untitled 

Editor: Here we have an Untitled oil painting by Michel Carrade. It features vertical bands of color and the mood feels quietly intense. How do you interpret this work? Curator: What I see is a fascinating intersection of postwar art movements. Carrade’s use of color fields recalls Rothko, but these defined vertical bands bring Barnett Newman to mind. In both cases, we’re witnessing a shift. Where does the artist situate himself in relation to Abstract Expressionism, or even the Colour Field movement itself? Are they challenging or embracing the existing norms, and how will society perceive such a challenge or embracement? Editor: So, it's a conversation with the artistic and social landscape of the time? Curator: Precisely. Think about the institutions exhibiting this kind of work. Who was given access? Whose voices were amplified? Art isn’t created in a vacuum, it is intrinsically linked with who gets to speak, who gets exhibited, and, indeed, who has access to interpret and enjoy the art. Even the act of calling it "Untitled" speaks volumes, doesn't it? Was this a deliberate act to disassociate the painting from any pre-determined cultural narrative? Editor: Yes, I see how calling it “Untitled” allows for a multitude of views which definitely alters who feels like they can appreciate and be welcomed to analyze this painting. So it creates a certain democratisation in art in that respect. Curator: Indeed! By removing labels, artists are often questioning and reconstructing social identities and power structures through art, offering avenues for understanding the changing political implications of art itself. Editor: I never thought about an abstract piece holding so many potential statements about how people access art! Curator: It goes to show that behind seemingly simple compositions lie complex histories, politics, and cultural narratives, revealing that the artwork represents a tangible effect. Editor: Definitely gives me something new to consider! Thanks!