Plate c. 1938

Curator: This watercolor and drawing from around 1938 by Byron Dingman depicts an earthenware plate. The piece beautifully combines ceramic traditions with watercolor illustration. Editor: It feels light, cheerful even. Like it should be hanging in grandma's kitchen. The way the floral arrangement just *pops* against the off-white is delightful. Curator: Dingman worked at a time when folk art traditions were being reassessed and often valorized, especially within the context of regional artistic movements. Pottery and decorative arts, once considered craft rather than fine art, were finding a new audience and critical appreciation. Editor: Makes you think, what *is* fine art anyway? There's a whimsy here, an accessibility...like you could actually *use* this plate, not just stare at it from behind a velvet rope. The color palette, with its pinks, blues, and greens, it feels very optimistic. Almost defiant, in a quiet way. Curator: Defiant? Interesting. Considering the time it was made, just before World War II, such domestic scenes could be seen as resisting the impending chaos. Perhaps presenting an idealized version of home. The artwork serves as a cultural artifact reflecting its era's values and aesthetic preferences. The display of fine ceramics within museums reflects a shift of perspective in cultural institutions and their understanding of popular and material culture. Editor: I can dig that, "resisting the chaos". A quiet revolution, hidden in plain sight. Though you could also use the plate for cake. You know? I see art *in* usefulness. Curator: So you're saying it finds its political valence in practical use? Editor: Maybe? Or maybe I'm just hungry. But there's definitely more than just a pretty picture here. This is what folk art is all about; the joy is *right* on the surface. A democratic expression! Curator: Thank you for your insights. Thinking about the dualities, it serves as a perfect opportunity to encourage us to question and reimagine cultural hierarchies, while appreciating artistic innovation in commercial materials. Editor: Exactly! And now, if you'll excuse me, I'm off to find a pastry worthy of such a beautiful plate...even if it’s just a painting.