Untitled 1964

Curator: Here we have an Untitled piece by Jeremy Moon, created in 1964. It is a metal sculpture that exemplifies constructivist principles. Editor: My first thought? Playful. It's like a child's building blocks, rendered in this striking cobalt blue. Though those edges look pretty sharp for playtime! Curator: Precisely. While there's a visual simplicity, there's also an underlying intellectual rigor characteristic of constructivism, and especially the hard-edge movement. It’s a dance of geometric forms arranged according to a precise internal logic. Consider the context: 1964, post-war optimism, a belief in technology, a desire for clarity. Editor: A desire, perhaps, to tidy up the messiness of life, contain it within perfect angles and planes? That cool blue isn't exactly warm and fuzzy, is it? Though it is intensely engaging. There's a calmness about it, a sense of order. Curator: This piece reflects the artistic ideologies of the time. Abstraction was viewed as a means to access universal truths, moving beyond representation. It was shown and celebrated widely in both commercial galleries and public institutions alike. These spaces bolstered its influence and that of others pursuing similar ends. Editor: And, thinking of art within spaces, its scale really strikes me. Not that big but a thing of prescence: How does this sculpture shift depending on the gallery in which it is positioned? The blue has a real depth to it as well...like staring into some pristine modernist swimming pool. Curator: A perceptive point. Scale is very important with sculpture, to ensure the intended effect and dialogue with its location. And, as you rightly observe, the depth of the cobalt enlivens the composition. Editor: Ultimately, it is this sense of perfectly arranged elements and the emotional, almost aquatic depths, to that vibrant blue that sticks with me. Curator: Indeed. Moon's piece stands as a significant example of hard-edge painting and constructivist thought translated into three dimensions.