Air Raid c. 1938

Editor: Edward Hagedorn’s linocut print, "Air Raid," created around 1938, depicts a very dramatic scene using stark black and white contrast. The chaotic composition and frightened faces evoke a strong feeling of anxiety. What’s your take on this piece? Curator: Given its production during a volatile pre-war period, this work resonates deeply. It prompts us to consider the socio-economic context in which such prints were created and consumed. How do you see the medium—a relatively accessible printmaking technique—playing a role in disseminating this message to a broader audience? Editor: I see your point. Linocuts are much more affordable than paintings, right? Making it easier for more people to own and see. Curator: Exactly. It highlights the means of production and distribution. We can view the linocut not just as art, but also as a form of social commentary and a product reflecting specific historical anxieties about production, labor, and impending doom. The raw quality suggests immediacy – a quick and affordable method for widespread consumption of an idea. Consider its use of materials: lino, ink, and paper - what statement do these common, functional materials make? Editor: So it's almost like the art is itself a reaction, and also a part of this history it depicts. That’s fascinating! I hadn’t considered the medium as being so connected to the message. Curator: Precisely. It forces us to consider the artist’s intentions, and the relationship of art-making and broader socio-political circumstances. Editor: Thank you, this has broadened my perspective quite a bit! I will definitely consider more the material realities that shaped its making and distribution. Curator: Glad to have been able to share this Materialist perspective with you, offering a deeper appreciation of “Air Raid”.