Indeed 1991

Editor: Valerie Jaudon’s 1991 graphic artwork titled "Indeed" really jumps out! The repeating geometric shapes create this almost hypnotic rhythm. What social or historical contexts shaped Jaudon’s choice to focus on geometric abstraction? Curator: That's a perceptive observation! In the late 20th century, particularly within postmodern discourse, artists like Jaudon critically engaged with the modernist emphasis on pure geometric forms. Minimalism and its austere aesthetics were being re-evaluated, specifically its relation to the traditionally “feminine” world of pattern and decoration. Jaudon challenges the rigid hierarchies. Editor: So, she's pushing back against established norms by embracing these traditionally "lower" forms of art? Curator: Exactly! Jaudon appropriates and elevates pattern, which has historically been associated with craft and domesticity, not "high art." What do you notice about the composition itself, especially in terms of repetition and symmetry? Editor: Well, the repetition definitely creates a sense of visual stability, almost architectural, but the slight variations throw you off, which feels really intentional. It doesn't feel quite...resolved. Curator: Precisely. Jaudon’s “imperfections” can be interpreted as a critique of the sterile perfection often associated with modernist geometric abstraction. These imperfections serve a purpose, drawing our attention to the underlying societal structures that favor some art forms over others. Did the title 'Indeed' spark any thoughts about Jaudon's approach to societal or artistic values? Editor: Actually, it does. Now I see how 'Indeed' might be a statement. Almost like she's emphatically claiming the validity of these "lesser" forms, of pattern, within the broader art historical canon. Curator: An excellent way to connect her approach to artistic and societal issues of that era, with relevant sociopolitical impact. Editor: It's fascinating to consider her work not just as an image, but as a commentary on cultural and institutional hierarchies! Curator: It’s exciting how "Indeed" opens up dialogue on art's capacity to critique existing power structures.