Still Life with Utamaro and Vermeer 1987

Editor: This is Josef Levi’s “Still Life with Utamaro and Vermeer,” created in 1987. It's a print, juxtaposing an image reminiscent of Japanese ukiyo-e with Vermeer's "Girl with a Pearl Earring." I’m struck by how the printmaking medium itself creates a dialogue between these different artistic traditions. What strikes you about this work? Curator: I find the collision of these visual languages compelling precisely because of what it reveals about artistic production. Both Vermeer and Utamaro are celebrated figures, yet the creation of this print implicates Levi's own labor. What materials did he choose? How were they sourced? What socio-economic implications are inherent in his choice to reproduce, rather than originate, these images? Editor: That’s fascinating. I hadn’t thought about the choices of material being a comment on the role of the artist. The printing process feels like it democratizes the image, making it more accessible. Curator: Exactly! The print becomes a commodity, divorced from the presumed uniqueness of the original painting. But the question is, does this break down or reinforce the established artistic hierarchies? And what about the viewers, their access, their understanding? What value is placed on a 'copy'? These are the sorts of things we, as materialists, need to interrogate when approaching artwork such as this. Editor: So it’s not just about what is depicted, but also how it’s made and what that making says about the broader context? Curator: Precisely. Think of the paper, the inks, the printing press, even the distribution networks. They all contribute to the meaning of this work. The combination of images speaks to the consumption of cultures. Editor: I see now. Looking at art through this material lens really changes how I understand the artist’s intention and the work's cultural significance. It's not just about aesthetic appreciation but also a critical engagement with the entire production process. Curator: Exactly!