Abstract in Blue 1950

Curator: Standing before us is "Abstract in Blue," created in 1950 by Robert Goodnough, rendered with acrylic paint on canvas. Editor: My initial impression is of contained chaos, almost like looking at the disassembled parts of a machine or a city map after an earthquake—there's a sense of dynamic energy but also fragility. Curator: I'm drawn to how the blues interact with other hues, especially those bursts of red that disrupt the cool serenity, almost like memories intruding on a calm state of mind. The lines evoke architectural structures but in a very ephemeral, unstable form. It recalls a dreamscape of deconstructed buildings, perhaps a subconscious commentary on postwar anxieties. Editor: I'm intrigued by the textures visible here. Look closely—you can see the varying thickness of the paint application. Areas where the brushstrokes are much heavier and more gestural against others with very thin washes and scraped away areas. It begs the question: What was Goodnough's physical process? Did he work swiftly, layering and scraping to build up this layered, chaotic surface? I also see an almost gridded under-structure in black—which suggests an orderly framework holding all these "chaotic" energies together. Curator: The underlying structure speaks to the artist’s attempt to impose order on chaos. Blue is traditionally linked to contemplation, truth, but it also can relate to melancholy and introspection. The disruptive marks layered on top could symbolize the complexities of thought or challenges to established order, with the grid itself acting as an ideological cage. Editor: Looking at Goodnough’s technique from a production perspective, there's an economy of materials here; everything feels essential and deliberate. It’s also important to remember the burgeoning commercialization of acrylic paints during this period; exploring the use and effects of new, industrially-produced mediums would become more attractive for the artist looking for durable and affordable materials. Curator: I appreciate your observation regarding the materiality here. For me, this piece feels like Goodnough wrestled with not just materials but also psychological spaces, turning his interior landscape into this emotionally complex composition. Editor: Agreed. Examining "Abstract in Blue" has really opened my eyes to how an exploration of artistic practices interacts and shapes with individual symbolic expression. It's more than a mere picture; it’s a trace of making.