Sheep Bell 1939

Editor: This watercolor and graphite piece is "Sheep Bell" by Raymond E. Noble, created in 1939. It's quite striking, this depiction of a weathered, possibly hand-forged bell. What can you tell me about it? Curator: Noble’s focus on a seemingly simple object invites us to consider the processes embedded within its creation and use. How was this bell produced? What was the labor involved in forging the metal, shaping it, and attaching the clapper? We can almost imagine the artisan, his tools, and the hot forge. Editor: So you’re less interested in its aesthetic value and more in its production? Curator: Exactly. The rust and wear become evidence of its life in a specific socio-economic system: likely a rural, agrarian setting. Who owned the sheep? Where was it forged? This isn't just about admiring a pretty picture; it's about deconstructing the narrative of materiality and labor woven into the object. Consider also, the commercial use of artworks in that time as promotions of "American" industry and craft. Editor: That makes me see it in a completely new light. It’s no longer just a quaint image, but a small window into the material conditions of its time. It speaks of human labour. Curator: Precisely. Noble’s “Sheep Bell” is interesting when we interrogate its composition and context. What stories of making, labour and American craft are at play here? Editor: I'll never look at a seemingly simple drawing the same way again! Focusing on its materiality is revealing, making the invisible labor visible. Curator: Indeed. By emphasizing the process, the artwork challenges the traditional hierarchy separating high art and everyday objects. It reframes our understanding of art, and by looking closely we reveal embedded human labor and materiality.