Mediterranean Winter 1955

Editor: Ynez Johnston’s 1955 print, "Mediterranean Winter," looks like an etching, based on its fine lines. It’s very abstract and, honestly, a bit chaotic at first glance. There's a lot happening with these geometric shapes. How do you approach interpreting a piece like this? Curator: From a materialist perspective, let's think about the process of creating an etching. The artist physically intervenes, carving into the plate, controlling the depth of the lines, the pressure, and the bite of the acid. These acts dictate the final image. Editor: So, the artist’s hand is very present, even in something so abstract. Curator: Precisely. Consider how the act of creating multiple prints also allows this image to enter circulation, disrupting traditional notions of a unique and precious art object. This print can be viewed and consumed beyond a privileged, elite audience. Think about where this print may have been exhibited, consumed. Who was able to own a print like this, and how does that access influence your understanding? Editor: That’s fascinating. I was just seeing lines and shapes, but you’re right. The process and its potential for broader distribution completely changes how I view it. I think I was getting hung up on trying to decode specific symbols or forms. Curator: Do you see the effect of this in the Modernist style and breaking from what was expected? Where previous pieces may be commissioned this piece is unique through it's print to be distributed more easily. Editor: Yes, now that you mention the potential for broader distribution, I can totally appreciate its form as intentionally disruptive! So, focusing on the materiality and means of production can actually unlock a lot of meaning in abstract art. Curator: Exactly. It shifts the focus from purely aesthetic concerns to a consideration of the social and economic forces that shape artistic creation and reception. Editor: That gives me a lot to think about – thanks!