Sternpiece c. 1937

Curator: The first thing that strikes me is this work's formality. "Sternpiece," dating circa 1937 by Albert Gold, is rendered in wood. The figure’s intense gaze and defined mustache are quite remarkable. Editor: It does have a weight to it. I wonder who he was to warrant such a stiff portrayal. The formal attire, the carved suit—it speaks to a certain level of societal expectation and the sitter's conformity. The history encoded in his features... it’s undeniably male, pale and privileged, no? Curator: It could be seen that way, but it seems more generally aspirational. His very direct stare is hard to decode now. Consider that sternpiece traditionally referred to ornamental carvings on ships. What could that imply when it takes the shape of a man? Editor: So you think this work elevates an everyman? Because the title immediately calls to mind patriarchal authority, of course, given its origin and time. Do we know who Gold wanted to commemorate, and why? Is it just to project this "man's world," as embodied by ships and portraits? Curator: Unfortunately, beyond that, the details surrounding this work are somewhat scant. But it is curious how this combines the tradition of portraiture, caricature, and even naval architectural decoration. Maybe it's not so much an endorsement of traditional power as it is an ironic reflection upon it. The piece does betray a touch of wryness, doesn't it? Editor: Maybe... And the wood itself seems to be fighting against that, giving the figure a rough-hewn quality that slightly undercuts the pretension. It feels like Gold is asking a question: "What kind of man should be at the helm?" Though the answer seems firmly entrenched in traditional structures of power. Curator: A knotty question indeed, as complex and dense as the wood itself. There's something deeply resonant in considering how identities, especially those connected to authority and history, are constructed and visualized, as Gold encourages us to think through "Sternpiece". Editor: I am left hoping the dialogue is never complete as society reckons with those structures of power it is founded upon.