Sailor—Shanghai [verso] c. 1931 - 1937

Editor: This is "Sailor—Shanghai," a pencil drawing by Thomas Schofield Handforth, likely made sometime between 1931 and 1937. It's so minimal, just a few lines really. It makes me wonder, how are we to interpret such a seemingly simple sketch? Curator: Precisely. The apparent simplicity can be deceiving. Considering the period, we must examine the colonial dynamics at play. Handforth was an American artist depicting a sailor in Shanghai, a city then rife with international tension and inequality. Who was this sailor? Was he a local, or part of the foreign presence? The gaze is also key—what does it tell us about the power dynamic between artist and subject, between West and East? Editor: So, you see the drawing as a commentary on colonialism and power? Curator: It's difficult to ignore the socio-political context. Consider also the Western fascination with Eastern cultures during this era, often romanticized or exoticized. Is Handforth challenging those stereotypes, or reinforcing them through his art? Is he objectifying the sailor or imbuing him with a sense of individuality and agency? Editor: I see your point. I hadn't really considered the artist's role in perpetuating or challenging stereotypes of that time. How would we even begin to find answers to such questions? Curator: We could delve into Handforth’s biography, examine his other works, and research the experiences of sailors, both local and foreign, in 1930s Shanghai. Understanding their living conditions, their interactions, and the political climate of the time is paramount. Art doesn't exist in a vacuum. Editor: That's really given me a lot to think about. It is never as simple as it seems.