Pa. German Plate c. 1940

Editor: Here we have Aaron Fastovsky’s "Pa. German Plate," circa 1940, executed in watercolor, colored pencil, and drawing on paper. I’m struck by the sense of tradition and almost… rebellion contained in such a simple form. How do you interpret this work? Curator: This plate, or rather, the representation of it, offers a fascinating intersection of folk art, cultural identity, and political statement. The Pennsylvania German community, or “Pennsylvania Dutch,” held distinct cultural traditions. Can you see how these traditions may have been affected by cultural context during that time? Editor: Well, given the prominent placement of "Liberty F. Polk" alongside a stylized eagle, it seems to connect to a sense of American identity. Curator: Exactly. The use of German script around the edge and Pennsylvania German motifs – the stylized floral design – speak to the community maintaining their heritage but visibly linking their identity to the American political landscape during a time when that was deeply debated. Consider also how the inscription of "Samuel Troxel, Potter, 1846" historicizes this image and connects it to the legacy of folk-art production. What do you make of the color choices, and how might those choices contribute to the work’s overall impact? Editor: The muted colors suggest something aged, handmade... a reverence for the past, perhaps? Curator: Precisely! And the combination of the aged look, historical reference and political text creates an intertextual piece on this community's vision for liberty, family, and where they might place their vote. Food for thought, literally. Editor: I hadn't considered that layered messaging. It really highlights the power of art to negotiate identity. Curator: It underscores how everyday objects can become powerful statements about cultural negotiation and belonging, challenging simplistic notions of a singular American identity.