La Primavera 1988

Editor: Sam Francis’s “La Primavera,” created in 1988 using mixed media including textile and acrylic paint. I’m really struck by its vibrancy; the geometric patterns sort of ripple across the bright green background. What social or historical currents might have been influencing Francis at this time? Curator: That’s a great starting point. Thinking about the late 1980s, we see the rise of globalization and rapid technological advancements, coupled with increasing awareness of environmental issues. Do you see any echoes of these socio-political dynamics in the artwork? Editor: Well, the grid-like structure makes me think of technological frameworks, like early computer interfaces. But, then the chaotic splashes of color within each square feels…organic and unrestrained. It’s a strange tension. Curator: Precisely. Francis, who was deeply engaged with Abstract Expressionism, created this work during a period when the movement’s influence was being reassessed in light of new artistic trends. One thing to note is the rising art market popularity that benefited such artists. How does "La Primavera" participate in or critique existing market values around abstract art, given the complex tension it embodies? Editor: It’s fascinating to think of those global influences filtering through a movement focused on the individual. It makes me rethink the whole dialogue between control and spontaneity here. Curator: Exactly! And consider how museums and galleries during that era helped curate and perpetuate this evolving understanding of Abstract Expressionism, shaping how the public consumed this artwork. Editor: I never really thought about those macro factors shaping what ends up on the canvas… or even in the museum. Curator: It’s all interwoven. Hopefully this will broaden your way of thinking and considering other social, economic and cultural relationships going forward.