Untitled 1974

Editor: We’re looking at a 1974 print by Michael Goldberg. It's an untitled linocut print on paper. What strikes me most is the delicate repetition of these almost invisible lines. What can you tell me about it? Curator: The subtlety you observe is key. Goldberg, though associated with Abstract Expressionism, here engages with a quieter, almost minimalist aesthetic. What institutional forces might have encouraged such experimentation with abstraction and the linocut print medium? Remember, by the 1970s, there's already a reaction to the grand gestures of the Abstract Expressionists and a turn towards more accessible mediums, partly influenced by the rise of Pop Art. Editor: So, he’s intentionally moving away from that big, bold style? Curator: Possibly. Consider also the politics of imagery at the time. A starkly different approach to abstraction had emerged, less overtly expressive. Could this almost imperceptible mark-making reflect a cultural shift? Was Goldberg questioning what mark making meant for public viewership at the time? What meaning can the viewer create through their experience with this type of visual language? Editor: It’s interesting how something so seemingly simple could be tied to broader shifts in art and society. I had never considered that. Curator: Indeed. Goldberg uses the artistic practices available to him to enter the social dialogues being discussed through art. The linocut as a form has it's own history, often utilized to connect a graphic or message for easier viewing. He moves towards abstraction, creating an interesting space. Editor: Thanks, seeing it as part of this bigger picture makes it far more interesting than I first thought. Curator: I’m glad. Always ask yourself how an artwork is not just reflecting but actively shaping its cultural moment.