The Third 1964

Editor: Barnett Newman’s *The Third*, painted in 1964 using oil paint, certainly makes a bold statement. The overwhelming orange is quite striking, with those thin vertical lines contrasting against the vast space. What draws your eye when you look at this piece? Curator: I find myself drawn to the materiality of it all. Look at the application of the paint itself. It’s not just about color; it’s about the labor, the physicality of dragging the brush across that immense canvas. And what about the edges? The interaction between the "zip" and the edge of the canvas is especially interesting. They appear raw and unfinished which breaks down traditional boundaries. It shifts away from any allusion and towards raw industrial canvas. Editor: The raw, unfinished edge, particularly on the left, gives the sense that the work could continue beyond the frame, doesn't it? Do you think that was intentional, a commentary on the mass production in that era? Curator: Precisely. Think about the context in 1964: mass production was booming. Newman, consciously or unconsciously, seems to be engaging with this through the industrial nature of the materials themselves. The painting denies the historical association between painting, luxury and handmade traditions; there is nothing traditionally "precious" in what is depicted. Editor: So it's not just abstract expressionism but almost an embrace of the industrial, questioning our understanding of value. Curator: Absolutely. By foregrounding process and materials, Newman prompts us to reconsider where art's value truly resides, and who defines that value in an era dominated by production. Editor: I never thought about the socioeconomic influences in a painting like this! Thanks, that was a great conversation! Curator: My pleasure. It's a fascinating piece, and I am glad that we could reflect on Newman's cultural contexts!