The nightfall 1979

Editor: Will Barnet’s "The Nightfall," a watercolor from 1979, has such a haunting, symbolic feel to it. The woman, the birds... What stands out to you in this piece? Curator: I'm drawn to the material reality of this work, and what that tells us. Consider the artist’s deliberate use of watercolor: its relative accessibility speaks to broader trends of making art and craft, right? How the perceived "fragility" challenges traditional notions of artistic value established with oil paints for instance. Editor: So you see the *medium* as important for thinking about social and cultural value judgements about what art *should* be? Curator: Precisely. The flatness, the even wash across the page… watercolor’s association with the domestic, with female artistry - it inherently questions a hierarchical view of "high art." Now, look at the making here: see how he has repeated and varied these birds? What materials would be most appropriate to this effect? Editor: A stamp? Printing techniques would allow him to efficiently create multiple versions, raising questions about production. Curator: Yes. What is being consumed and how do we value it if easily repeatable. And further how the art and it's material speaks about a potential social commentary, even subconsciously. Now if you can speak about this from an informed point of view. It is your turn to tell me what you observe that informs your initial view, no? Editor: Looking again, the subdued colors and composition highlight this, reinforcing a mood, even while pushing us to ponder those manufacturing processes in ways I hadn't originally considered. Thank you, I've learned a lot about viewing the material conditions that give us this art. Curator: Likewise. Considering how production intersects with artistic intention is always enlightening.