Untitled (Torn Sky) 1970

Curator: Well, here we have Joe Goode’s "Untitled (Torn Sky)" from 1970. It's acrylic and ink on canvas. My initial impression is one of surprising softness given the sharp, torn edges. Editor: Softness is interesting. I see it, especially in the gradient of pink, but the raw edges and the almost clashing blue introduce a tension. What sky is ever pink and baby blue? It disrupts that natural, placid symbolism. Curator: The 'torn' aspect speaks to a rupture. A kind of psychological tearing away of the conventional sky-scape. He presents it to us, literally, as a fragment. There is something vaguely menacing about that aggressive gesture on such a peaceful subject. Editor: Do you think that tension might mirror the political climate of 1970? It was a period of immense social upheaval and cultural change, especially in the US. It feels as if Goode could be hinting at the fractures within the American social fabric. A very interesting reading, in light of Abstract Expressionism and color field that was popular in those years. Curator: Precisely. Consider the 'sky' as a stand-in for broader cultural expectations, ideologies, or perhaps even promises. To then 'tear' it suggests a dissatisfaction or perhaps even a violent rejection. It feels like a very critical visual statement that also makes use of art trends. It speaks about how artists used the same forms with subversive political consciousness. Editor: Absolutely. The scale, too, demands attention. The canvas is enormous and imposing, so the gesture becomes more impactful. Goode almost forces the viewer to confront this disjunction. He's not simply painting a pretty picture of the sky, but making a comment. It’s fascinating how abstract gestures can echo socio-political contexts so resonantly. Curator: I find myself considering how our understanding of 'landscape' has shifted. "Torn Sky," really makes us consider what is familiar or iconic about it. Editor: It challenges how these themes can take on new dimensions when filtered through different socio-political conditions and artistic intentions. Curator: Exactly, by dislocating a recognizable form, we're challenged to reconsider everything we assume about the relationship between humanity, art, and environment.