Painted Drawing #37 1976

Editor: So, here we have Joseph Marioni’s "Painted Drawing #37" from 1976, an intriguing piece of ink on paper. Initially, I find it very calming. What do you see in this piece, what is its story? Curator: Calming is a great start! It's got that minimalist, almost meditative quality, doesn't it? To me, it whispers of systems and order. A grid. Something so foundational. Did Marioni embrace the imperfection of handmade lines within this structure? It's like a quiet rebellion against rigidity. Do you see that tension? Editor: I see what you mean – the very slight variations in the grid hint at the hand of the artist. Was this grid a common visual language at the time? Curator: Absolutely. The grid, especially in the '70s, became a playground for artists exploring the essence of painting. Think Agnes Martin, Sol LeWitt. But Marioni... his ink, his "imperfections", that makes it more… human, doesn't it? It avoids the coldness that sometimes sneaks into conceptual work. It feels…painted. What is your view? Editor: It certainly does feel more approachable, you're right. More intimate, maybe? Seeing the little squares gives the sense of seeing a hand-drawn watercolour, even. Curator: "Intimate" – I love that word for this piece. Maybe Marioni was inviting us to slow down, to consider the beauty in simple structures, the little flaws, the imperfections of being. Or, you know, maybe he just really liked grids! Editor: (Laughs) Perhaps! But it does make you appreciate the nuances. I'll never look at a simple grid the same way again. Curator: Exactly! That’s the magic.