Epilogue 1957

Curator: Looking at this, I feel as though I’m staring into the heart of something unfinished, a beautiful ruin. Editor: That’s an interesting way to describe it. This is "Epilogue," a 1957 mixed-media print by Dorothy Westaby McCray. The piece employs ink and etching techniques. At first glance, it might seem chaotic, but there's a calculated abstraction at play. I'm wondering what elements bring about this feeling of incompleteness for you? Curator: Well, it's the layered effect. The colors – muted blues, earthy browns, and splashes of red – create depth, but the frantic linework on top almost seems to be scratching away at the surface, exposing something underneath. I feel a certain restless energy emanating from the print. Does it call to mind similar turbulent energies in that era for you? Editor: Absolutely. Abstract Expressionism often acted as a visual articulation of the anxiety and uncertainty percolating through post-war society. There’s an underlying commentary here. Considering the title, "Epilogue," McCray seems to reflect on endings – not just of conflicts, but of social structures. Perhaps these vertical, architectural forms suggest that institutions and ways of life are crumbling. Curator: Institutions crumbling! Yes, I see what you mean, particularly when considering how fragile those linear structures appear. It’s as if the piece wants to tell you something – whisper a secret from the past – but it can’t quite bring it into focus. Editor: McCray worked during a time of significant social upheaval, where movements for civil rights and gender equality gained momentum. One lens to examine "Epilogue" through is feminist theory. Does this abstraction signal a desire to move away from conventional, patriarchal representations in art? A move away from legibility? Curator: I wonder... abstraction offers refuge. A space to emote without literal obligation. For me, that red blotch against the faded teal, top-left – is like the very last ember. Maybe it signifies one final act of defiance... or maybe I'm reading too much into a simple daub of color. Editor: Not at all. Art invites multiple interpretations. For me, it’s crucial to understand artwork as documents deeply embedded in social and political discourse. Even—or perhaps, especially—when appearing in abstraction. Curator: Well, in this reading, “Epilogue” stops simply being an ending, and transforms into a beginning of questions. Editor: Exactly. The print functions not so much as a full stop, but as an ellipsis – a pause before something new unfolds.