Untitled 1962

Editor: This is an "Untitled" work from 1962 by Paul Feeley, made with acrylic paint. I'm struck by its simplicity and the contrast between the blue and orange. It almost has a graphic quality to it. How do you interpret this work? Curator: This piece places itself within a pivotal moment where abstraction met the growing influence of mass media and design. Feeley was working in an era deeply impacted by the rise of Pop Art and Op Art. While he predates much of the intense socio-political engagement in art of the later 60s, there's an undeniable visual dialogue happening. The simplified forms and the stark contrast… doesn't it remind you of advertising? Editor: I see what you mean. There’s something very clean and almost…reproducible about it, like it could be easily mass-produced. Was Feeley intentionally commenting on consumer culture, or do you think it was more of an aesthetic choice? Curator: It's subtle, right? He wasn't overtly critical, as some artists were, but by adopting these streamlined forms and a limited palette, he reflects the visual language that was becoming ubiquitous. It prompts us to consider: what role does art play in shaping, or being shaped by, the visual landscape of its time? What happens when painting borrows from the world of graphic design? Editor: So it's less about direct commentary and more about mirroring and questioning the influence of mass media? Curator: Precisely. It becomes part of a wider conversation about the role of the artist and the artwork within a rapidly changing society and the politics of abstraction. Feeley sort of challenges where decoration begins and profound meaning ends. What did you glean from considering this point? Editor: I never thought of abstract art in dialogue with the commercial world, but your reading really opened my eyes to the relationship between art, culture, and social forces. Curator: And hopefully it helps others consider the ever blurring line of “high” and “low” art forms!