Untitled 1959

Curator: Immediately, this painting presents itself as a shadowy puzzle, almost as if figures are lurking in darkness, picked out by these vibrant lines. It definitely seems playful, but mysterious as well. Editor: And the mystery deepens when you know the artwork is by Vilen Barsky and is called, simply, “Untitled”. Dating from 1959, it’s a brilliant, and deceptively simple, example of abstract expressionism executed in acrylic. Curator: Barsky uses color to almost 'draw' the images. What strikes me most are the symbols formed by the bright lines against this overwhelming black background. I definitely see a crouching form on the lower-left—but is that intentional or am I projecting a figurative image? Editor: Well, that is part of the charm, I think. Although many would call it purely abstract, others might see a stylized depiction of a seated figure, a common motif that spans art history from ancient figurines to modernist icons. Perhaps, he references both and, so, speaks to all! And this speaks volumes in relation to the climate of artistic exploration after the Second World War and during the Cold War. Curator: Absolutely. Considering the sociopolitical atmosphere of the time, a move toward abstraction makes sense. With so much figurative painting linked to state propaganda, escaping to this type of expression was radical. Also, the use of vibrant, almost cartoonish lines juxtaposed against this impenetrable black field brings something new into that era. It seems simultaneously playful, and deeply unsettling. Editor: Yes, this juxtaposition invites a dialogue between opposing elements—light and darkness, playfulness and anxiety, figure and ground. Each element strengthens the others. It is like seeing glimpses of familiar shapes struggling to emerge from a symbolic night. In short, he perfectly encapsulated a very challenging moment in contemporary history. Curator: I agree entirely. His bold exploration of visual paradox and cultural touchstones makes “Untitled” a captivating, truly resonant work of its era—and for our own. Editor: Indeed, there is a compelling and potent ambiguity here, prompting me to consider what other layers of symbolism or association I might unearth in Barsky's intriguing composition, especially from the Soviet artistic scene.