Shower in Tetouan 1913

Editor: This is James McBey's "Shower in Tetouan" from 1913, an ink drawing. It feels so immediate and raw, like a fleeting moment captured in pen strokes. What stands out to you? Curator: It’s interesting how McBey utilizes the very act of drawing—the specific application of ink to paper—to depict not just the scene, but also the environmental conditions. Look at how the varying pressure of the pen creates a sense of rain, a kind of material translation of weather. How does this reflect, perhaps, on artistic labor itself? The rapid strokes could signify a kind of immediacy in both the weather and McBey's creation. Editor: That's a great point about the depiction of the rain! So you’re saying that McBey's artistic process itself becomes part of the narrative of the artwork, rather than just a means to an end? Curator: Precisely! And consider the "Orientalist" style. It raises questions about artistic consumption and the Western gaze. Was McBey consciously engaging with those power dynamics? We must consider whose stories are being told, by whom, and for what purposes. What can the materiality tell us about cultural exchange and exploitation at the time? Editor: I see what you mean. Looking at it through the lens of materials and production makes you consider those socio-political issues baked into the work itself, issues beyond the visual depiction. Curator: Indeed. McBey’s Shower becomes a tangible record of artistic decisions, labour, and the complex web of social and cultural exchanges that shaped its creation. We see in this sketch that material culture itself is political. Editor: Thank you, this was a very insightful perspective; I've learned a lot about deconstructing art in context!