Sistina I 1987

Editor: Here we have Piero Dorazio's "Sistina I" from 1987, rendered in acrylic paint. It’s strikingly vibrant; the curved lines against the deep blue create a sense of dynamic movement. What historical context informs your understanding of this work? Curator: Considering its 1987 creation date, this work engages with postmodernism's dialogue around abstraction. Dorazio had a long career experimenting with geometric abstraction, but here, we see a real emphasis on disrupting formalist conventions. The gestural brushstrokes within the geometric shapes contrast with the flat background, inviting a playful reconsideration of depth and surface. What do you make of that tension? Editor: That’s fascinating, how he is undercutting formalism! The individual brushstrokes are a real contrast to hard-edged abstraction. So, would the "Sistina" title hint at a commentary on institutional art, like a modern "Sistine Chapel"? Curator: Exactly! By titling an abstract work "Sistina," Dorazio may be referencing the grand narrative of art history while simultaneously challenging it. He’s using abstraction to question traditional art's monumental role in culture. Do you see this piece as a celebration or a critique? Editor: Perhaps a little of both? It feels celebratory in its bold use of color and energy, yet the title prompts us to question the established canon. I’d not considered the societal critique behind it before. Curator: Indeed, that tension is crucial. Postmodernism aimed to democratize art and break down high and low culture distinctions. Thinking about the time, it arrives just as institutions started broadening their scope, embracing more diverse practices. Editor: That definitely makes me appreciate Dorazio’s work on another level. Thanks for sharing your expertise! Curator: My pleasure! Hopefully, it provides you with a better understanding of this piece in the Postmodern era.