Wounded Gull c. 1944

Editor: This watercolor and ink piece is "Wounded Gull" by Morris Graves, created around 1944. It’s a very somber work. The darkness of the background contrasts starkly with the gull's form. What draws your attention most when you look at this work? Curator: As a materialist, my first impulse is to think about the production of this image, the artistic process. How did Graves source his materials during wartime, and how did the quality and availability of these materials influence the final image? The dark washes, the thin paper, the rapid brushstrokes all suggest resourcefulness but also a possible commentary on fragility. Editor: That's interesting. I hadn't thought about the materials themselves telling a story of the time. So, is it more about the process than the image itself? Curator: Not necessarily "more," but the image is inextricably linked to its making. Consider the rapid, almost frantic brushwork. What societal anxieties might this reflect? Perhaps wartime anxieties or even the growing awareness of environmental impact that was beginning at this time. The “wound” might not be just on the gull. Editor: So, it's not just about the injured bird but perhaps a broader commentary on the wounds inflicted on the natural world by human activity? Curator: Precisely. And by examining the material conditions of its creation, we gain a deeper understanding of this social context. Even the format, the watercolor itself; a medium seen as less "serious", is Graves using it to question high/low art hierarchies, considering it a potent, easily sourced medium in times of trouble? Editor: I see. Thinking about it in terms of material and production, it opens up new layers of meaning. Thanks, that gave me a whole new perspective on it! Curator: My pleasure. Hopefully it will encourage closer observation of the materiality in all artworks.