Triangular Fugue II 1965

Editor: This is John Dowell's "Triangular Fugue II" from 1965, made with ink, and what I believe to be a print technique, it feels like organized chaos – energetic and frenetic. What historical contexts shaped its creation? Curator: Well, consider 1965. The Civil Rights Movement is gaining momentum, the Vietnam War is escalating, and artists are grappling with social upheaval. This piece reflects that. Editor: In what ways? The style looks a little like abstract expressionism but looser, or is there something else there? Curator: Exactly! Abstract Expressionism was waning, but its emphasis on personal expression and mark-making was influential. Dowell seems to push against pure abstraction, injecting figurative elements. Think about what "figuration" meant for Black artists in that moment. Whose stories get told and how? Also, what public role did images of Black life serve? Editor: So the ghostly figures, the suggestion of landscapes…are they actively responding to political debates, or perhaps engaging with African American oral traditions, signifying freedom or a way to navigate the complicated racial dynamics of America at the time? Curator: Precisely. The ambiguity is key. Dowell isn't giving us a straightforward narrative, and he uses geometric shapes as visual metaphors. Instead, he invites us to contemplate the complexities of identity and experience, as it shifts into a fugue of sorts. He is trying to bring some calm into what he must have experienced. Editor: That makes sense. So it's not just about personal expression, but about engaging with larger societal issues through visual language. It seems Dowell wanted viewers to reflect on it and not give an explicit understanding. Curator: Exactly. The "Fugue" gives a lot to think about, in relationship to the music term and its social commentary. Editor: This makes me appreciate the artwork so much more. Thank you. Curator: Likewise. This discussion gives me fresh perspectives too!