Vase c. 1937

Curator: Before us we have “Vase,” a watercolor and pencil drawing completed around 1937 by Jessica Price. Editor: It's immediately striking, with that soft, earthy palette and almost folksy decorative style. The simple rendering really appeals to the touch; I just want to reach out and feel its texture. Curator: Price's choice of rendering this everyday vessel points to the broader history of decorative arts finding acceptance within fine art circles, a fascinating reflection on art hierarchies in the early to mid 20th century. We might ask how something utilitarian comes to be seen as an art object. Editor: I am interested in how Price made it—the build up of layers and visible marks. Is this meant to be the depiction of an actual physical vase, or an imaginative interpretation where the idea of “vase” takes precedence over faithful reproduction? Curator: It’s hard to say definitively without knowing Price's intentions, of course. But if we consider the time in which this piece was produced, there was a great emphasis on accessibility of art, an argument for a democratizing of the artistic sphere. Works like this vase are a way to showcase common, simple forms. Editor: The medium is definitely part of the message here. The subtle variations of color in the drawing create such a tangible sense of presence, highlighting the simplicity of domestic objects while transforming what it means to produce “art.” I mean, a watercolor of a vase – doesn't get more straightforward, labor-wise. Curator: Yet, the aesthetic simplicity perhaps masks a sophisticated social and political statement. The labor involved is almost hidden, forcing a reflection on production itself within a society that perhaps undervalued it. The creation and viewing of this vase challenge us to see value where we are accustomed not to. Editor: So true. What starts out appearing quaint and domestic becomes a quiet assertion about value. I look at this very unassuming vase a little differently now, with much more appreciation. Curator: Exactly, and I think, by observing everyday items, the artist compels us to reconsider the status of what and who counts in art, craft, and society as a whole.