Untitled 1986

Editor: Here we have Erik Saxon's "Untitled," created in 1986, a drawing made with graphite on paper. It strikes me with its simple, almost stark, geometry. What stands out to you as you consider this work? Curator: The meticulous process and chosen materials are key here. Look closely. This isn't just graphite; it's a carefully applied layer, almost a weave. It seems to blur the distinction between drawing and something textile. What kind of labor do you think went into achieving this consistent texture, especially given the limitations of the medium? Editor: It looks incredibly labor-intensive! You’d have to apply such precise pressure… were artists during the Modernist movement consciously thinking about blurring those distinctions? Curator: Absolutely! Artists in the 1980s, particularly, questioned the traditional hierarchy that placed painting and sculpture above craft. Materials like graphite became vehicles to elevate the "everyday" and challenge the elitism embedded in art history. Consider the social context – were these readily available, affordable materials a way to democratize artmaking, and perhaps critique a culture of consumption? Editor: So, the "ordinariness" of graphite itself becomes a statement? Curator: Exactly. And think about the paper: the torn edges, the way it’s presented. The intentionality behind every choice elevates this simple material. The work demands that we confront our assumptions about what constitutes 'art' and how its value is constructed. Editor: It’s fascinating how focusing on the material opens up so many avenues for understanding the artist's intentions and the wider social context. I hadn't considered it that way initially! Curator: Exploring the "how" and "why" behind artmaking truly enriches our appreciation of art. It invites us to think critically about art as a product of labor and a reflection of societal values.