Up Within 1958

Editor: This is Frederick Hammersley’s "Up Within," painted in 1958 using acrylic paint. The geometric shapes and vibrant colors give it such a playful, almost optimistic feeling. How do you interpret this work? Curator: It's interesting you say that. While the shapes might seem purely formal, consider the social context of 1958. This was a period of post-war optimism, but also simmering social unrest, particularly regarding civil rights and gender roles. Does this painting offer an escape from that reality, or perhaps a subtle commentary on the fragmented nature of society through its disjointed forms? Editor: That’s a perspective I hadn’t considered. The sharp lines do give it an edge, I guess. Is that why it's related to Pop Art? Curator: It's on the cusp. Hammersley anticipated some Pop Art aesthetics. However, it's important to note that Pop Art often directly engages with consumer culture and celebrity, while Hammersley's abstraction remains more ambiguous. Think about how the "Hard-edge painting" movement rejects any trace of the artist's hand, aiming for a pure, objective expression of color and form. How might this pursuit of objectivity relate to broader societal aspirations, or perhaps even anxieties, of the time? Editor: So, it's not just about the pretty colors then? Curator: Absolutely not. Art is never created in a vacuum. Consider the history of geometric abstraction – from Mondrian's utopian visions to the Bauhaus's functionalist aesthetics. Hammersley is participating in a long and complex dialogue. Editor: I'll definitely look at it differently now, keeping in mind those social and historical layers. It makes the work much more compelling. Curator: Indeed! By understanding the socio-political context, the painting transcends mere aesthetics and becomes a window into the complex tapestry of the past.