Bracelet c. 1937

Curator: This watercolor and drawing from circa 1937 by Tulita Westfall depicts bracelet designs. It seems simple, almost technical, in its presentation. What strikes you about it? Editor: The bracelets feel both luxurious and kind of…mapped out. Like we are seeing the object but also the labor involved in imagining it. What stands out to you about Westfall's approach here? Curator: I find it compelling that Westfall, likely an artisan herself, collapses the distinction between design and object. The inclusion of the technical drawings alongside the watercolor washes highlights the stages of production, bringing our attention to the means by which these bracelets come into being and what roles they inhabit. Are we looking at jewelry or the process of jewelry making here? Editor: That’s a good point. The visual language feels very straightforward, almost instructional. Do you think that points to a specific audience, perhaps other makers? Curator: Perhaps. Considering the period, though, one might also consider the role jewelry played in consumption and the marketing of luxury. The drawing lays bare the design process as much as it advertises the potential product. It begs the question: were these designs intended for mass production or high-end bespoke craftsmanship? Editor: It's interesting to consider that tension, the space between handmade and mass-produced objects, and how this work captures that moment. Curator: Precisely. It also makes one think about who had access to such luxury items in the late 1930s and the socioeconomic landscape of the time. Editor: I see that now – by showing us the ‘how,’ it makes me consider the ‘who’ and the ‘why.’ Thank you.