Untitled (Office Building in Cleveland) c. 1930

Editor: Here we have William S. Gisch's "Untitled (Office Building in Cleveland)," likely created around 1930. It's a print, and the density of line work really strikes me. What is your impression when you look at this piece? Curator: The architectonic form of the office building dominates, its upward thrust emphasized by the linework which mimics, in its verticality, the very essence of skyscraper design. Note how Gisch uses hatching and cross-hatching, almost exclusively vertical, to create a sense of depth and volume, subtly broken by horizontals on the streetscape below. How does the distribution of light and dark, achieved through this intense linework, affect your reading of the structure? Editor: Well, the contrast between the dark sky and the brighter facade of the building draws my eye upward, making the building seem even taller and perhaps a bit imposing, even ominous. Do you think that's intentional, or is that simply a product of the technique? Curator: Technique and intention are, I suggest, inextricably linked. Observe the structural articulation, where darker lines delineate edges and recessions, effectively conveying a sense of three-dimensionality on a two-dimensional plane. The medium of print reinforces the stark contrasts inherent in the visual language of the period. Gisch seems deeply engaged in a visual interrogation of form and space. Editor: I see what you mean. Focusing on the composition itself really highlights the artist's control. It’s a powerful statement using such simple materials. Thanks! Curator: Indeed. By prioritizing the interplay of form, light, and line, we can engage more directly with the essence of the artist's vision. A productive inquiry, wouldn't you agree?