Quarry 1962

Editor: This is Jerome Kaplan's "Quarry," created in 1962. It's a monochrome print using graphite. I find the composition quite striking, almost like looking at a tightly packed, abstract cityscape. What structural elements define its artistic merit from your perspective? Curator: The print reveals itself through a complex arrangement of geometric forms, primarily rectangles, layered to create a dense, almost palpable surface. Note the strategic deployment of contrasting tonal values—areas of deep, absorbent blacks offset by patches of brilliant whites. This juxtaposition not only defines the shapes but also establishes a spatial ambiguity that compels the eye to traverse the composition. The very materiality, the textured surfaces achieved through graphite, serves not as mere representation, but as an active participant in the articulation of space. What is the relationship between figure and ground here? Is there a stable hierarchy, or is it a dynamic interplay? Editor: I see what you mean. There isn't a clear foreground or background; everything feels equally important. I hadn't really considered the graphite itself as an element with inherent value. So, it’s less about what it represents, and more about how it functions as a textural element in the overall design? Curator: Precisely. Think about how the texture influences our understanding of space and form within the work. Does the texture create an illusion of depth, or does it flatten the image, emphasizing its two-dimensionality? Consider also the rhythmic repetition and variation of shapes. What is the artist communicating through this structured repetition? Editor: The repetition and tonal variety definitely add visual interest. I guess focusing on the materiality makes me consider the artist's process much more deeply. Thanks for clarifying those aspects! Curator: Indeed. Approaching art through its intrinsic elements provides us with a more nuanced appreciation for the artist's intentionality.