In Flight 1952

Editor: Sylvia Wald’s “In Flight,” a print and watercolor work from 1952, has such an ethereal feel to it. It's dreamy and feels unresolved, but also very free. What do you see in this piece? Curator: I see a microcosm of mid-20th century anxieties and aspirations, articulated through the lens of Abstract Expressionism. Think about 1952. The world is grappling with the Cold War, and burgeoning social movements. Wald’s abstraction, coupled with the title, can be viewed as a metaphor for escaping societal constraints and seeking freedom. The ambiguity of the forms might reflect the uncertainty of the era, wouldn't you agree? Editor: That's fascinating. I hadn’t considered the Cold War context. But is it right to read into an artwork like this such definite things about what she felt at that time? It seems so abstract! Curator: The beauty of abstraction lies in its open-endedness. But, by considering her as a female artist in a male-dominated movement, how might ideas around gender or social rebellion inflect this "flight"? Is she escaping certain artistic conventions, social expectations, or historical burdens perhaps? Editor: That’s a really powerful thought. Viewing it as a woman finding her voice amidst all of these artistic giants shifts my perspective considerably. Curator: Precisely. These layered readings add depth and relevance. Editor: Thanks. I’m not sure I would have ever arrived at such an analysis without your guidance, which enriches how I look at not only Wald’s piece, but other abstract artworks, as well. Curator: And considering abstraction as a visual language reflecting specific historical circumstances gives you another lens to bring to future viewing experiences.