Untitled [plate XXIV] 1958

Curator: Joan Miró’s "Untitled [plate XXIV]", created in 1958, strikes me immediately. The print is deceptively simple. At first glance, the starkness of the geometric shapes against the light background creates an interesting, almost playful composition. What are your thoughts? Editor: My initial reaction focuses on the printing process. This isn't just about composition; it's about how Miró manipulated the means of production. The visible wood grain in the top element hints at the labour involved, the physicality of carving and pressing. It draws attention to the hand that made it. Curator: Yes, but consider how those formal choices affect our viewing experience. The concentric circles in the ‘eye’ immediately pull us in. The textural, organic quality contrasted with the bold, flat planes below creates a dynamic tension. This opposition shapes the image, guiding our interpretation. Editor: Precisely, it is Miró engaging with Surrealism, and Modernism more broadly. These movements sought to liberate art from academic constraints and to reflect industrial, capitalist society. What appears childlike on the surface might actually critique labor and alienation. Curator: That's a valid perspective. But focusing on materiality alone risks overlooking the psychological dimension of the artwork. The juxtaposition of the 'eye' and those almost totemic, ground-based shapes hints at something primal, perhaps a connection between inner vision and the material world. Editor: I see that, and agree that the ‘eye’ invites reflection on our perception. However, its positioning above those grounding marks suggests a power dynamic. I consider whether it makes sense to analyze the materials and method without analyzing consumption habits in this time period. This era embraced consumerism as an art, which cannot be dismissed. Curator: Well, thinking about what we see through the lens of materiality, considering mass consumerism that affected artists like Miró. So many social constructs and visual experiences must affect artistic outcomes of the day! Editor: Exactly! Miró, whether consciously or unconsciously, responded to and reflected the economic moment and his work, becoming more accessible via print, embodies that.