Horses 

Curator: Today we’re looking at Huang Yongyu’s painting "Horses," rendered in ink and watercolor. It is a really interesting example of Asian art tradition with its blending of figuration and abstraction. Editor: Whoa. My first thought? Freedom! I can almost feel the wind in my hair – or mane, I guess, if I were one of these guys! They're practically leaping off the canvas. Curator: It's interesting that you mention freedom. Within a contemporary context, this imagery raises certain questions. Who are these horses? Are they free? And for whom does that freedom ring? We have to examine historical Chinese painting in light of post-colonial theory to think about who gets to visualize these powerful symbols. Editor: Wow, heavy stuff. I was just feeling the energy! But okay, yeah, context is key. And speaking of keys, the ink strokes are so calligraphic, almost like the horses *are* characters in some ancient story. It’s definitely loose, though; Huang isn't trying to show every muscle and bone; he's going for something more…felt. Curator: The very notion of “feeling” directs us toward a critical reassessment of art history. "Horses" offers us insight into intersectional identity, as well. What might an intersectional lens – especially feminist theories about how gender is shaped by social and political powers – tell us about the representation of equestrian themes? Editor: That's… intense. But now I'm picturing them breaking free from, like, patriarchy itself, these wild feminist horses! I love the blurred quality, like a half-remembered dream. Also, the color palette is amazing - that soft earth-toned wash with the pops of jet-black. Simple but powerful. Curator: Exactly! It is vital to understand how Huang employs these stylistic elements to echo back to his particular positionality as a modern Chinese intellectual and artist. Editor: Yeah, yeah, totally! Although sometimes, I think overthinking art sucks the joy out of it. Can’t it just be beautiful, and evoke, and let us… gallop away for a bit? Curator: It is not a matter of negating personal experiences or "joy" as you frame it; but situating the individual artwork within larger power dynamics. Editor: Okay, okay. I guess these horses kicked me out of the stable of ignorance. Curator: Indeed, and I am glad to have fostered that type of inquiry. Editor: So, yeah, powerful painting. Now, if you’ll excuse me, I suddenly have the urge to…run.