Sigmund Freud 1958

Editor: Here we have Misch Kohn's 1958 etching, "Sigmund Freud." It's a portrait, but there's something unsettling about the way it's rendered; the lines are so stark and almost scratchy. How should we approach understanding it? Curator: Let's begin with the tangible aspects, the 'how' of its making. Consider the etching process itself. It's a laborious process involving acid, metal plates, and printing presses, which brings up notions of craft. What kind of labour was involved? And what social message does it communicate? Editor: So, the choice of etching speaks to a particular type of labour, one that's perhaps more "hands-on" than painting? Curator: Precisely. Etching is far from effortless, it demands technical mastery and physical toil, not to mention the resources necessary to perform it. Look at the lines, the textures achieved. Kohn's treatment of the material conveys something beyond a simple representation of Freud. How might that roughness relate to societal perception of the psychoanalyst himself at that time? Editor: Perhaps challenging the high/low art division mirrors the revolutionary nature of Freud's ideas. It brings him down to earth? Curator: Interesting. How might the material act as a counterpoint or complement to the figure's psychoanalytic ideas on consumption, fetish and human labour? The physical process creates a contrast, yet amplifies a certain tension within the subject. Editor: It’s fascinating how focusing on the materiality opens up layers of meaning beyond just the subject matter itself. I’d never considered etching in this way before! Curator: Indeed, recognizing the production processes involved shifts our perception and creates meaning from the interplay of the final visual and our recognition of production methods. We have an opportunity to analyse this, knowing full well the processes involved and the impact they create.