Painter’s Crossing 1996

Curator: Here we have Bo Bartlett's "Painter's Crossing," rendered in acrylic paint in 1996. My initial impression is one of subdued elegance, maybe even austerity, despite the opulence of the fur coats. It's very still. Editor: It’s the light, isn't it? That very northern, unwavering light that casts such long, unwavering shadows. There is a coldness despite the warmth implied by the fur, which actually adds a layer of uncomfortable social commentary. Curator: Perhaps the coats signify more than just status, though. Think of how animal pelts throughout history have symbolized protection, status, power—even a kind of spiritual authority, linking the wearer to the strength and resilience of the animal. It may be too simplistic, but I see them in a certain symbolic sense, maybe more than an economic sense. Editor: It's definitely more nuanced than straightforward materialism, yet it’s impossible to divorce the subjects from the context of wealth and privilege, especially when rendered in such a precise, almost photographic style. And what does it mean to literally wear the skin of another being? Curator: That precision gives it the hyperreality feel. They are there with us. Maybe Bartlett wants us to feel a part of their existence but also feel its uncanny features. I feel echoes of the "American Gothic" composition here and the way clothes are part of their identity. These people feel deeply connected to this location, even claiming the landscape as their own. Editor: Absolutely, the claim of the landscape resonates strongly. There is an argument here of ownership, a possession of the natural world made disturbingly apparent through their attire, their assured presence in that specific location and almost nowhere else, for example, a more vibrant, mixed and bustling environment. The gaze, especially, carries with it that history. Curator: You bring a crucial perspective about history. Now I wonder, given the title of the artwork, maybe the idea of 'crossing' symbolizes some significant transition for the painters. Or do the garments offer not only belonging, but a separation from what's 'natural'? Is there perhaps an intentional subversion of expected norms? Editor: Possibly a crossing towards awareness. Ultimately, "Painter's Crossing" leaves me contemplating the intertwined threads of power, legacy, and representation, urging us to question whose stories are told and how. Curator: Indeed. I walk away pondering on how seemingly static images can house deeply rooted historical narratives about identity and, more importantly, its visual languages.