Antique Mosaic in the Barberini Palace n.d.

Curator: The way figures are drawn here is so elegant. I think this piece, entitled "Antique Mosaic in the Barberini Palace," really has a way of transporting me back in time. It’s currently held here at the Art Institute of Chicago, rendered in pen and ink. What's your immediate reaction? Editor: There's an odd stillness to it despite the figures being caught in such dynamic poses. It reminds me of ancient Greek vase paintings—almost as if this drawing were designed to be inscribed onto the side of one. I get a very strong narrative feeling from the piece. Curator: Absolutely! The artist, James Barry, seems intent on capturing motion and drama. Look at the bottom left corner: there's a figure being carried away on a bull! It’s simultaneously playful and… well, there is something unsettling there as well. Editor: Definitely. It brings up the whole history of appropriation of classical imagery. It reminds us that these ancient stories, that have come to have universal status, were used by political institutions. You can even read some criticism towards this from James Barry. It seems like he has a ambivalent relationship with history, both celebratory and full of critiques. Curator: That duality is what I love about it! It captures both a reverence for and questioning of the past. It speaks to the ongoing dialogue we have with the stories we inherit and the way these tales continue to resonate. It’s a drawing, but with epic, sculptural qualities. It feels carved rather than drawn. Editor: I agree; it encourages us to consider the politics of that translation and reinterpretation. Curator: Precisely, that relationship is endlessly fascinating and thought provoking to me. I'll walk away with that. Editor: Well said! For me, I'm seeing the critical reflection of institutionalized aesthetics. An ambivalence with history. I'm leaving here also wanting to read more of Barry’s writings.