R/5 

Curator: Here we have a pencil drawing entitled "R/5," attributed to John Cage. Immediately, I am struck by the quiet, almost ghostly presence of the barely-there shapes. It appears as an exercise in pure line. Editor: A ghostly presence is right! This aged paper supports the quiet feeling. I wonder about Cage's labor—the intentional act of near erasure, working and reworking the simple forms. What type of pencil do you suppose? Was this scrap available? The materials present their own silent story. Curator: I'm fascinated by the bi-section of the composition—two distinct clusters of what appear to be ovoid shapes, differing densities created by layers of repeated marks. The pencil work emphasizes form and spatial relationships over concrete representation. The interaction between those lines gives the whole a strange sort of kinetic energy. Editor: I'm picturing Cage repeatedly lifting and pressing, questioning his role in shaping meaning. Considering Cage's involvement with the concept of indeterminacy in art, perhaps these barely-there marks represent a questioning of his control. It raises fascinating questions about the commodification and presentation of sketches too; items used in creative processing. Curator: Cage's broader interest in chance and aleatoric processes is certainly relevant. This drawing might be a visual parallel to his musical compositions, allowing accidental or unplanned events dictate the outcome. Editor: Exactly! And, even though it's faint, that the image exists on paper that already bares marks is compelling: almost as though Cage encourages the paper's own prior labor, making marks, folds, aging, as complicit with the artistic outcome. Curator: Precisely, viewing it that way expands my perspective on the art of the drawing. Thank you for drawing attention to that aspect. Editor: Thanks! Considering materials and labor allows for a broader perspective on meaning within Cage's output.