No. 1 Idea for "Waiting" 1974

Editor: We are looking at "No. 1 Idea for 'Waiting'" a charcoal drawing by Will Barnet from 1974. I find the subdued and sketchy quality of the drawing rather unsettling; what’s your initial reading of the artwork? Curator: It's a deceptively simple piece. Barnet created this during a period when figuration was regaining traction after the dominance of abstraction. What’s intriguing here is the interplay between the seemingly mundane subject matter—a figure by a staircase—and the potent symbolism embedded within. How might we see the figure's placement within a specific social or cultural moment? Editor: That’s a great point. So you’re suggesting the "waiting" isn't just literal? Curator: Precisely. Consider the era: post-Vietnam, societal shifts, questioning of authority. The figure, somewhat isolated, positioned near the stairs – could symbolize a population at a crossroads. Is this an individual awaiting change, opportunity, or perhaps trapped within a system? Barnet’s style, moving towards simplified forms, removes it from purely realist interpretation. Editor: It becomes a broader statement about the human condition then. How does its presentation as a “drawing” alter that? Curator: By presenting this “idea,” rather than a finished painting, Barnet keeps it open to interpretation. The immediacy of charcoal gives it an accessibility, almost inviting viewers to complete the thought, to project their own “waiting” onto the image. Moreover, its existence as an early work allows institutions the space to elaborate on an artist’s full trajectory. Editor: That’s fascinating. I hadn't considered the open-endedness conveyed through the medium. It definitely sheds light on how societal context impacts interpretation. Curator: And remember, art institutions, by choosing what to display, shape how these dialogues occur and evolve over time.