Untitled 1962

Curator: Seymour Lipton’s "Untitled" drawing from 1962 is rendered with graphite and pen. I am immediately struck by the sharp contrast between the tightly hatched sections and areas left more loosely sketched. There's a tension that creates a very dynamic feel. Editor: Dynamic is an apt descriptor, particularly when one considers the conditions of its production during the 1960s, a time of considerable material prosperity and consumption amid the Cold War’s antagonisms. Lipton was associated with abstract expressionism; it’s work emerging in tandem with expanding industrial economies. It's fascinating to consider how a drawing like this functions in relation to this larger economic picture, considering his use of these seemingly readily available materials. Curator: And yet, the abstraction seems to resist easy consumption. Its sharp, angular forms could represent architectural elements, or perhaps machinery, but the overall composition frustrates any clear, representational reading. The textures and the use of line create a visual puzzle. I get a sense of the monumental reduced to an intimate scale. Editor: Perhaps it suggests the monumentality inherent within seemingly mundane materials and their accessibility. Lipton was clearly deeply engaged with labor in relationship to both the economic means that surrounded him and, the accessibility he was given within those same frameworks. The visible pen and graphite gestures suggest a rapid process, a dance between artist and materials. I suspect Lipton aimed for immediacy. The question is whether the "readymade" nature of the pen sketch can elevate craft within artistic commodity in that decade. Curator: Well, whether or not it's elevated, the sketch’s energy is compelling! I find myself tracing lines with my eyes, attempting to reconcile its internal geometry to resolve it into something. Even unsigned, I feel I could identify this Lipton. Editor: It reminds us that even the humblest of materials and the simplest means of production carry potential when wielded thoughtfully, or forcefully. Curator: Indeed. And hopefully this gives the public cause to re-evaluate what exactly constitutes an art object. Editor: Agreed.