Dickson Reeder (Fish) 1944

Editor: This is Flora Blanc Reeder's "Dickson Reeder (Fish)," an etching from 1944. I’m immediately drawn to the textures; the scales are meticulously rendered, but the surrounding space is quite abstract and dreamlike. What strikes you when you look at this piece? Curator: Well, the material and process are paramount. As an etching, its existence hinges on labor: the labor of preparing the plate, the careful acid-etching process, the labor of the press, and then the multiple prints made. This speaks volumes about Reeder's position in the art world, making art reproducible. Editor: That makes me wonder about the scale, since it's a print, was it intended to be widely distributed? Curator: It's more than just dissemination; it democratizes the image. We need to think about who had access to art production during that time, especially women artists. Was etching a medium that offered a degree of accessibility? What was the community around printmaking like in 1944? Editor: That's interesting. I hadn't thought about printmaking as a form of democratization of art. Looking closer, the fish appears almost trapped by these ambiguous surroundings, perhaps suggesting something about artistic freedom? Curator: I like your reading. Now, considering the context of 1944, could the etching process, the acid biting into the metal, also reflect a social commentary on the era, with the war and the pressures it inflicted? It might not be immediately evident, but how labor and access dictate what we see deserves deeper examination. Editor: That's given me a lot to think about. The choice of material really impacts the potential reach and even the interpretation of the work. Curator: Exactly. And understanding the how of its making is just as vital as understanding the what.