Rousham 1972

Curator: Leonard Lehrer's "Rousham," made in 1972 using charcoal and graphite, presents a really fascinating landscape. Editor: Yes, it does! The formal garden leading up to the statue is incredibly striking. The monochromatic tones almost flatten the perspective. What can you tell me about it? Curator: From a materialist perspective, I see a drawing that collapses high and low. We have a representation of a manicured aristocratic space – Rousham House – rendered in accessible materials like charcoal and graphite. Consider the labour implied, the repetitive marks needed to create such a detailed scene. The artist chooses a medium easily reproducible. What statement might Lehrer be making about access and ownership of spaces and their representations? Editor: That's a very interesting point about access. The contrast between the depicted opulence and the common materials used certainly provokes questions. How does the printmaking aspect come into play? Curator: Precisely! Lehrer could have simply made a drawing, but a print suggests multiples, wider distribution, maybe even challenging the idea of the unique, precious art object tied to elite circles. Editor: I never considered the social implications of the medium itself! It adds a whole other layer to the work. Curator: Think about how materials themselves carry meaning. Charcoal is often associated with sketches and preparatory work, but here, it defines the finished piece, blurring the line between process and product, hinting at an accessibility even within its craft. The way that Lehrer employed these easily reproducible media does demystify artistic creation to a degree. Editor: That’s a perspective shift for sure. It highlights the political power embedded within the material choices artists make. Thanks! Curator: Absolutely. Looking beyond the mere aesthetic, at the processes and materials that shape art, reveals complex relationships between creator, creation, and the world around it.