Untitled (Annual Edition) 1973

Editor: Here we have Richard Anuszkiewicz’s "Untitled (Annual Edition)," a print from 1973. The bright pinks and oranges in those geometric patterns are just so vibrant against that pale blue backdrop. It’s almost dizzying to look at, and it’s definitely grabbing my attention! What do you make of it? Curator: I'm interested in the materials. It's a print, which inherently speaks to mass production and accessibility. Think about how that contrasts with the idea of unique, handcrafted artworks typically valorized in the art world. Why choose printmaking to explore color theory and optical illusions? It's deliberately pushing against boundaries, forcing us to reconsider our notions of artistic labor and consumption. Editor: That’s a really interesting point. I guess I hadn't really considered why it was a print and what that signifies, it’s almost rebellious in a way, isn't it? Almost like bringing art to the masses through, well, mass production. Curator: Precisely. And look closely at the texture of the paper. Is it a smooth, high-quality surface, or something more utilitarian? Even the choice of paper contributes to the overall message about value and accessibility. Anuszkiewicz’s background as a colour-field painter also emphasizes how the physical act of printing allows for different effects of layering the hues together, to emphasize and explore how colour works materially. Editor: So, you're saying the medium itself is part of the message, about who art is for, how it's made, and how it circulates. Curator: Exactly! It's about grounding the ethereal experience of color and perception in the concrete reality of production and distribution. Editor: I hadn't thought of it that way at all! Now I'm looking at it completely differently. Thanks! Curator: And I appreciate your initial observation about its vibrancy - a reminder that material analysis shouldn't overshadow the sensory impact of the work.