Road Trip in the Woody 2017

Editor: So, this is David Michael Hinnebusch's "Road Trip in the Woody," from 2017. It's a mixed-media piece, predominantly acrylic, and it’s… vibrant! Almost aggressively so. What jumps out at you? Curator: It's interesting how Hinnebusch utilizes those varied media to create a layered effect. The texture isn't just visual; it's practically tactile. How do you think the layering of paint contributes to our understanding of production? Editor: Well, it feels almost… spontaneous, like a street mural. But surely there's a deliberate construction there. It is a canvas and not a wall, after all. Curator: Precisely! He’s blurring lines. Pop Art often embraced the accessibility of mass production, but here, with visible brushstrokes and material experimentation, Hinnebusch seems to both acknowledge and subvert that. He's signaling artistic labor, craftsmanship in something presented as 'pop'. It is hardly just "popped" out. It demands to be made. What effect does this tension have, do you think? Editor: I see. It's less about the glossy, finished product and more about the making of it – the layers, the revisions… Curator: Yes! And consider the title, "Road Trip in the Woody." Cars themselves are products of intense industrial labor. And who has the liberty to drive across a state? How do you think this plays into the concept of labour versus leisure, consumption, and production? Editor: I hadn't thought about that. Now I see how much this work layers the question of value and labour. There's something very thoughtful about elevating this, elevating materials themselves... Curator: Agreed! That very act, is, at its core, the social function of art. Editor: Wow, this has totally changed the way I see pop art and painting more generally! Thanks so much for your insights.