Novae coelestium, terrestriumque rerum observationes 1646

Editor: This is "Novae coelestium, terrestriumque rerum observationes" by Francisco Fontana, made around 1646. It's an engraving, so a print. What strikes me immediately is the incredible detail and contrast in the rendering of the moon. It has such depth. What do you see when you look at this? Curator: From a formalist perspective, one is drawn to the binary oppositions at play. Note, for instance, the strong distinction between the textual and visual fields. One presents a grid of linguistic structures while the other purports to provide direct observation of celestial phenomenon. Editor: That's a great point! The starkness is obvious, almost fighting each other for attention on the page. Is that the contrast you’re focusing on? Curator: Indeed. The composition can be understood in terms of binary forms, where figure opposes ground, where representation battles against language, and observation strives for dominance over theory. We are presented with visual binaries that mirror our own cognition as the mind organizes sensory input. Editor: I see, so the opposition creates tension and focuses your attention on the artwork's intent as the artist works between words and image. Did you notice the imperfections of the paper as an attribute of the artwork itself? Curator: An intriguing suggestion, indeed. A focus on the materiality of the paper draws our focus to this engraving not just as a tool of information but also as an artwork with the surface being a record of that history. And this history can change and morph over time. It can be observed that an artwork itself and not simply a tool is constantly evolving as we look, touch, and interpret. Editor: That has expanded my appreciation. I now see how the formal elements influence the relationship between image and viewer so that there is a continuous dialogue.