Poster Variation 

Editor: Here we have Kenneth Noland's "Poster Variation," a print using acrylic paint. It's quite striking, how the geometric abstraction simplifies form. What is your take on this work? Curator: Immediately, I am drawn to the raw materiality. The toned paper and yellowing background suggest age, perhaps exposing the artistic process and materials used to make it. Notice the "hard edge," it's more accurately "carefully made." There are imperfections and subtle inconsistencies in how the pigment sits, inviting the viewer to consider the human labour inherent in its creation. Do you see how this challenges the traditional modernist values? Editor: Yes, I do! I see the imperfections now that you've pointed them out. So, instead of being purely about form and colour, it acknowledges the physical making. But how does it engage with social context? Curator: The piece invites reflection on the means of artistic production. Consider the context of printmaking, a method democratizing art through reproduction. Noland perhaps elevates this ‘low art’ by showcasing the evidence of labour. Are we invited to contemplate the act of making versus purely consumption? Editor: That's interesting! So it questions the hierarchy between "high art" and craft? I’d never considered a print as potentially labour-intensive! Curator: Precisely. The apparent simplicity belies a more nuanced inquiry into art-making itself and also the act of reception: How does the viewer engage? Editor: So, from this materialist view, it's not just an abstract geometric piece; it prompts us to consider art's creation, labor, and even its accessibility. Thanks, I learned so much by taking a look under the aesthetic surface. Curator: It's a valuable reminder that every artwork carries within it a history of material decisions, human intervention, and societal forces. Thanks for letting me share!