Epoque de Rennes 1960

Editor: Here we have Mary Callery's "Epoque de Rennes," a metal sculpture from 1960. It strikes me as a complex geometric puzzle – like a crown of thorns, but abstracted and metallic. What do you make of it? Curator: Looking at this sculpture through a historical lens, several things stand out. Firstly, consider the period: 1960. Abstract Expressionism was in full swing, challenging traditional forms and embracing emotional expression. Callery’s use of metal, a decidedly industrial material, moves the AbEx aesthetic into sculpture in new ways. Editor: I see what you mean! How does this work speak to its social context? Curator: In the post-war era, there was a fascination with both destruction and rebuilding. Metal, often associated with machinery and wartime industries, carries that weight. The "crown of thorns" imagery that you mentioned evokes ideas of suffering and sacrifice. So how do you read the political meaning of those forms? Editor: Hmmm, so is the piece offering a critique, or a glorification, or something in between? Does the fact that it's on a pedestal in a museum impact its reading? Curator: Absolutely. The museum frames how we understand the piece. Putting "Epoque de Rennes" on display elevates the object and almost sanctifies those original artistic concepts in new generations. The museum grants a seal of approval on those artistic interpretations, allowing viewers to continue learning about historical and cultural symbolism. Editor: It is interesting how the museum space impacts the artwork's significance and message over time. This has given me so much to think about. Curator: Me too. Considering the intersection of art, industry, and historical narrative offers a fascinating lens through which to understand the work and how that understanding is also shaped by the spaces that art occupies.