Clock c. 1936

Curator: At first glance, the drawing feels oddly formal, rigid almost, with all those right angles. It is more like a technical schematic rather than what you might expect from a conventional piece of fine art. Editor: We're looking at "Clock," a drawing attributed to Ernest A. Towers, Jr., from around 1936. It appears to be an elevation or a study for a woodworking project, breaking down different components into smaller units that isolate construction elements. Given the era, I'd bet its from the height of the depression when vocational crafts and instruction got new relevance as pathways to economic mobility. Curator: It’s fascinating how it bridges design and craft; like it’s suggesting that design can itself be work. See how meticulously rendered the details are. Editor: Exactly! And each element seems divorced from its context. Why not provide the plan as a whole? The piece is, in fact, pointing to the commodification of art, the ways in which discrete skills and processes are being fragmented as design takes center stage within industry and consumption. Note how it elevates mundane parts like ornate floral corner detailing, door pulls, or leg joinery. I’d be curious to know what sort of materials would've been available or prioritized in furniture designs of this period... things like plywood versus hardwoods might carry significance that transcends their basic purpose. Curator: That’s right. Also, observe the geometric interplay within the column design, see how it’s segmented? The use of repetitive shapes must come from a very rational mind. But more broadly, what does it mean when artistic creation enters the realm of industry or even factory labor? Is there an implicit comment that relates to power relations within the workshop itself? Who makes decisions? Who profits? Editor: The question of value gets blurred. Was the drawing meant for an instructor’s benefit in the classroom setting, or did it serve the apprentice’s need in an active woodshop environment? We need to contextualize this study further by thinking about whose perspectives or which socio-economic contexts aren’t on full display here. What voices from this era haven't been considered in art history generally. Curator: I appreciate you raising such an insightful line of analysis... seeing this piece within its lived conditions expands my perspective a good deal. Thanks. Editor: Indeed! Considering historical objects of fine art opens dialogue through various critical frames... the materials used here alongside labor's role during a turbulent epoch really helps bring things into focus.