Chest c. 1937

Editor: So, this is a drawing called "Chest," created around 1937 by Katharine Morris. It's a mix of pencil, charcoal, and watercolor on paper. It feels technical, almost like an architectural blueprint rather than a finished artwork. What jumps out at you when you look at this piece? Curator: Well, I find it interesting how Morris has laid bare the production of this object. It's not just a depiction of a chest; it’s a documentation of the labor, design, and even the intent behind its creation. Editor: What do you mean by "laying bare the production?" Curator: Notice how she includes the technical drawings, the scale, even a separate, larger view of the escutcheon. It speaks to a consciousness of design and manufacturing. She elevates what some might consider mundane craft into something worthy of artistic attention. How might its intended function influence your opinion of its beauty? Editor: It makes me consider who was involved in each step—from Morris creating the design to a carpenter constructing the chest itself. It feels collaborative even if those individuals weren’t directly working together. The chest’s practical use as storage… do you think that impacts its value as an object worthy of artistic study? Curator: Absolutely. It invites us to rethink the traditional hierarchy between fine arts and applied arts. By focusing on the materials, the construction process, and the social context of the chest, Morris highlights the value of craft and challenges the notion that art must be divorced from utility to be meaningful. It certainly does that for me. I wonder, do you appreciate it more, now? Editor: Definitely. It’s fascinating to consider art not just as something to be admired, but as evidence of human labor and ingenuity. It broadens the way I think about art.