Procession 1971

Editor: Here we have Friedel Dzubas' "Procession" from 1971, an acrylic on canvas painting. I find it rather intriguing; it’s essentially a circle dominated by this imposing block of purple, softened by diffused edges. What do you see in this piece, given its place in art history? Curator: I see this work as a powerful commentary on the shifting role of painting in the late 20th century. Dzubas, working within Colour Field Painting, inherits the legacy of Abstract Expressionism but departs in significant ways. Consider how the circular format challenges traditional notions of painting as a window onto the world, instead presenting it as an object in itself. What socio-political shifts might be mirrored in that? Editor: That's fascinating. It does feel self-contained, almost like a portal or a lens focusing on pure color. Are you saying its abstraction reflects something about society at that time? Curator: Precisely. Think about the social upheavals of the 60s and early 70s – civil rights, anti-war protests, a questioning of institutions. This kind of abstraction can be interpreted as a rejection of traditional representational art forms, seen as complicit with established power structures. The very act of presenting "nothing but" color is a statement. Editor: So, the focus on color itself becomes the message. I hadn’t thought of it that way. Curator: Exactly. It’s about the politics of visuality, and the perceived “purity” of abstraction in a time of societal turmoil. How do we define the public role of art, and how might this piece fit—or disrupt—that expectation? Editor: This has really shifted my perspective. I initially just saw the aesthetic qualities, but now I see the potential social commentary embedded within the abstraction. Curator: And that's the beauty of art history – unveiling those hidden dialogues between the artwork and the world around it. Now I see the politics in the Procession; thank you for bringing a fresh look to the art.