Untitled [red, blue] 1979

Editor: So this is "Untitled [red, blue]" by Edward Avedisian, created in 1979, using acrylic paint. The thing that strikes me most is its layered and fragmented composition. What do you make of it? Curator: It is interesting to examine this piece through a materialist lens. Acrylic paint became increasingly prevalent in the latter half of the 20th century due to its versatility and lower cost relative to traditional oil paints. How do you think Avedisian's choice of acrylic influenced the texture and color saturation in this work? Editor: I see what you mean; perhaps the fast-drying nature of acrylic allowed him to build up these distinct layers quickly? Does the work engage with mass production and consumption as well? Curator: Precisely! The industrial production of acrylic paint made large-scale abstract expressionism more accessible, decentering the notion of the artist as a solitary genius painstakingly crafting with rare materials. The flattened perspective and geometric forms here evoke a kind of manufactured aesthetic, reflecting a shift in art towards embracing industrial processes and challenging traditional notions of skill and originality. It seems as though Avedisian has reconfigured these readymade geometrical signs into new spatial dynamics. Editor: So it's less about the artist's unique touch and more about the interplay between materials and modes of production? Curator: Exactly. Think about the artist's studio, their labor and processes; they engage critically with painting and also respond to their contemporary conditions, shaped by industrial advances, economic realities, and changing values. It seems that the use of accessible and versatile material is essential to understanding the work as an active response to the world surrounding the studio. Editor: That's really fascinating; it's changed how I look at the painting completely. I was so focused on the surface appearance initially. Curator: Considering the social and material contexts invites richer engagement and gives this kind of artwork even more cultural meaning.