Dimensions: image: 295 x 210 mm
Copyright: © Helmut Federle | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This is an intriguing piece, Untitled by Helmut Federle, held in the Tate Collections. I'm really drawn to its raw, almost industrial feel. What can you tell me about its materiality? Curator: Looking closely, we can appreciate Federle's use of materials. Note the textures, the visible signs of the printing process itself. How does the artist's manipulation of ink and surface challenge traditional notions of artistic skill? Editor: It makes me consider the labor involved, and the repetitive actions in creating these marks. Does this imply a commentary on mass production or craftsmanship? Curator: Precisely! The tension between the seemingly mechanical application and the unique variations in each mark is key. Perhaps a reflection on how mass production impacts our consumption patterns. Editor: I see. It’s much more than just an abstract image; it’s about the process and its implications. Curator: Yes, and understanding the work through its materiality reveals deeper insights into its social context.
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Blue Sisters, Structures of Deviance is a portfolio of ten prints executed in blue ink on white paper. Five are photogravures depicting trees. The other five are soft ground etching and aquatint on paper; these images are abstract and have a smaller plate size than the photogravures. The prints were produced at Druckatelier Kurt Zein in Vienna, where the artist lives and works. They were published in an edition of thirty-five with ten artist’s and publisher’s proofs; Tate owns number eleven in the edition.
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