Aethiopian Queen 1930

Editor: Here we have Werner Drewes’ “Aethiopian Queen,” a woodcut from 1930. The stark black and white, the sharp angles…it feels very direct and confrontational to me. How do you interpret this work? Curator: What I find compelling is the way Drewes uses the title in contrast to the Expressionist style. He's deliberately invoking a loaded term – “Aethiopian” – historically used with varying degrees of accuracy and respect to describe people of African descent. Then, he filters this through an Expressionist lens that emphasizes emotion and inner experience over strict representation. Editor: So, it’s not necessarily a portrait of a specific queen, but more about a concept? Curator: Exactly. Consider the historical context: the 1930s saw the rise of both the Harlem Renaissance and increasing anxieties about race and cultural identity across the globe. This print, produced by a white German artist, enters that conversation. It asks us to confront how power and representation intersect. Who gets to depict whom, and what narratives are being reinforced or challenged in the process? Notice the gaze, the simplification of features – are these tools of empowerment or potential avenues for perpetuating stereotypes? Editor: That’s… a lot to unpack. I guess I was seeing it as a powerful image, but without thinking about who held the power to create that image. Curator: The artist's intent, of course, is ultimately elusive. However, it provides an opportunity to engage in necessary dialogues surrounding race, representation, and the politics of art-making. What do you take away from that, now? Editor: That art can reflect the prejudices of its time even when seemingly celebrating a different culture, and it is important to investigate the intention of the creator and how the piece participates in broader cultural discussions.