I Tread, You Tread, in a Land of High Slopes, Clothed in Balm 1957

Editor: Here we have Benton Spruance's etching, "I Tread, You Tread, in a Land of High Slopes, Clothed in Balm," created in 1957. The somber, monochrome palette really establishes this mournful mood. What do you see in this print? Curator: The immediate draw for me is Spruance’s choice to employ etching. In a mid-20th century context, consider its labor implications and its place outside the dominance of mass production. Is it commentary through the very deliberate hand of the artist? Then note the superimposition of images—how do those layers shape or disrupt the "narrative" presented and consider what kind of labor creates these domestic textures? Editor: That’s a fascinating point. I was mainly looking at the composition and missing some elements that tie in with how it was produced. The juxtaposition you mentioned is very present in the stark contrast between the almost photographic realism of the figure, and the abstract backgrounds. Curator: Precisely. And where do we position “domestic” labor here when a "high art" practice incorporates elements linked to domestic spaces, challenging any conventional high/low art boundaries. What kind of political, social, or gender-based implications could come of the mixing? How does that interplay comment on value and class distinctions of this period? Editor: I see. So by carefully selecting the materials and method of production, Spruance is making a conscious statement about artistic labour and consumption... That’s something I hadn't considered initially. Thanks, it’s helpful to understand this work through the lens of materiality and production! Curator: Indeed, by interrogating the “how” of this piece, the social landscape of the “what” becomes more clear.