Tobacco in the drying places 1956

Editor: So, here we have Mariam Aslamazian’s “Tobacco in the drying places,” painted in 1956 with oil. It's so peaceful! What I see most prominently is how the painting situates women as a cornerstone in the work of agriculture and land cultivation. How do you interpret this piece? Curator: It's compelling how Aslamazian centers the labor of women within this rural setting. Thinking about 1956, what does it mean to depict women in this way? How does this image perhaps push back against dominant narratives about the role of women during that time, particularly in the Soviet context? Editor: I hadn't really considered that! The women appear so ordinary in this scene of labor and pastoral scenery, but putting this image in its specific social and political context…it makes you wonder about Aslamazian's intent and message. Curator: Exactly. It's about asking ourselves, whose stories are told and how? The quiet dignity of the women processing tobacco amidst a serene landscape isn’t just a genre scene. How might it serve as a commentary on gendered labor roles and the contributions of women often overlooked? The tobacco hanging from the structure feels emblematic of that toil, transformed into a consumer good. What do you think about how the artist emphasizes certain elements to convey her message? Editor: It seems almost celebratory of these women's roles, depicting what could be easily ignored, perhaps, as common. You've given me a lot to consider, especially concerning gender and historical narratives. Curator: And the crucial thing to consider is how even seemingly idyllic scenes often conceal intricate social, political and economic dynamics! It forces us to really look beyond the superficial and analyze artworks within their specific contexts, recognizing the multiple layers of meaning.