Blank 1864 - 1941

Editor: Here we have "Blank," an intriguing work made between 1864 and 1941 by Niels Larsen Stevns. It seems to be a drawing, done with colored pencils and watercolor on paper. What strikes me is the very blankness of it; it’s just open pages of a book. What do you make of it? Curator: What I see is the physical embodiment of potential, the means of artistic production laid bare. Consider the labor involved in crafting the paper, preparing the pigments for the colored pencils and watercolors, binding the book. These are all material processes. What kind of societal value do we place on these preparatory acts compared to a completed work? Editor: That’s a very different way of looking at it! I was focused on the lack of art. But you're drawing attention to the materials and labor…so, is the ‘art’ then, in the potential and the means? Curator: Exactly. We’re accustomed to viewing the finished piece as the ultimate goal, the commodity to be consumed. But isn’t the act of creation, the *making* itself, equally significant? Think about the social context – who had access to these materials, and what narratives were suppressed or yet to be born within these blank pages? Editor: So, you’re saying the *lack* of an image forces us to consider the socioeconomic structure around artistic creation itself. It sort of democratizes the artistic process. Anyone could, in theory, pick up those pencils and fill these pages. Curator: Precisely! The blankness becomes a powerful statement about accessibility, the commodification of art, and the unfulfilled potential of marginalized voices. Editor: I never considered a blank page could speak so loudly. Curator: By shifting our focus to the materials and processes, rather than the finished artwork, we gain new perspectives on art's social and economic implications. It reminds us that art isn't just about the final product; it’s about the labor, the resources, and the social context that give rise to it.