Charlie Parker Yardbird 1958

Editor: Here we have Beauford Delaney's "Charlie Parker Yardbird," created in 1958 using oil paint and employing matter painting techniques. The way the colors interact is very striking. How do you approach this piece? Curator: With matter painting and Abstract Expressionism, we confront the raw physicality of art-making. The thick application of oil isn't just about representation; it's about the labor, the artist’s hand, and the very stuff of creation. Notice how the swirling pinks and blues seem to almost fight for dominance. Does it evoke anything about the societal climate of the 1950s to you? Editor: It does. It feels tumultuous, and I see the struggle to create something new, possibly reflecting a desire to move past established artistic norms. But, how much do you think the title influences our interpretation? Curator: Immensely! "Yardbird" was Parker’s nickname. Think of jazz: improvisation, experimentation, pushing boundaries. The materiality echoes that – a kind of visual improvisation with paint itself. Did Delaney mix his own paints, and if so, how did that influence the end result? These are key questions when examining this work. The labor is the subject, and the creation of meaning is inherently political, responding to its social context. Editor: So, by looking closely at the materials and methods, we understand Delaney’s process better and connect it with jazz and social movements? Curator: Precisely. The interaction between the artist's materials and their manipulation directly speaks to themes of production, and expression within specific constraints. Editor: I've definitely learned to see the physical aspects of the art, and the artist's own production and context as so vital in understanding Delaney's artistic practice and how the art itself contributes meaning! Curator: Indeed, by centering our thinking on how art is made, the nature of materiality, and the forces in a society, we are also remaking ourselves to be critical of art history!