Interlude 1957

Editor: Jerome Kaplan's "Interlude," a 1957 print, presents a compelling scene, somewhat unsettling due to the strange figures and ambiguous setting. It’s monochrome palette lends it a gritty feel. How do you interpret the materiality of the printmaking process within the social context of its creation? Curator: Considering this is a print from 1957, we can analyze the materials and methods available to Kaplan and explore how the process shapes the narrative. Look at the stark contrast and almost rough texture achieved. Do you think that reflects the social realities of post-war America in any way? Were printmaking technologies widely accessible, thus democratizing art creation, or did certain studios monopolize tools of art creation? Editor: That’s interesting. The texture does feel deliberate. It’s not clean and polished; it feels a bit raw, suggesting perhaps a critique of more refined or idealized artistic traditions. So how does that connect with accessibility of means of art creation in post-war USA? Curator: Well, that raw texture may indicate certain choices relating to labor and consumption – it shows a hand-made feel, not machine-made. Maybe this piece resists notions of mass production prevalent at that time. Think about how his technique either challenged or confirmed high art traditions. Was the intent perhaps political by showing "raw" labor, as opposed to luxury of oil-paint high art? Editor: I hadn't considered it in that light, the conscious choice of process almost functioning as commentary itself. Seeing the labor involved really changes my interpretation of the whole composition. I will reflect more on access to tools and means of production in relation to visual impact and messages behind this art. Curator: Exactly. Examining the means of production and its visual results is crucial to truly understand any artwork, no matter how straightforward it may look!