Weather Vane c. 1938

Editor: Here we have Edward L. Loper’s “Weather Vane,” a drawing from around 1938. It depicts, well, a weather vane! The muted tones and straightforward presentation give it a kind of understated elegance. What jumps out to you about this piece? Curator: The immediate thing is its relation to labor and agricultural production. Weather vanes are functional objects, born out of necessity for farming communities. They speak to our manipulation of materials, and of our desire to control and predict the natural world. Do you think of it as "high art," and if not, why? Editor: That's an interesting question. I hadn't considered its origins in agricultural labor. I suppose I hadn’t thought of weather vanes as particularly artistic, more practical… It does challenge the idea of where we draw the line. Curator: Precisely. Look closely at the textures in the drawing itself; consider how the artist represents the potential for physical labor inherent in crafting the original weathervane from raw material into object. Consider its inherent relationship to animal husbandry, material acquisition, fabrication, and ultimately, its utility as a device of practical function. Does understanding the means of production and use alter your initial impression? Editor: It does. Seeing the artistry as an extension of labor gives the drawing more depth. The textures, like the graining effect on the cow, now feel like a celebration of the craftsmanship. Curator: Exactly. The "art" isn't separate from the "work," it's an extension. The drawing prompts us to rethink the value we assign to utilitarian objects and the labor embedded within them. Editor: I never thought I would get so much out of a picture of a weather vane! I’m beginning to see how art can open a lens onto everyday processes. Curator: And, conversely, how the everyday reveals itself within art. Seeing this artwork with its social, and material underpinnings offers fresh insights on both art and life itself.