Aftermath 1938

Editor: Phil Bard's 1938 drawing and print, "Aftermath," strikes me as unsettling. The figures seem dehumanized, almost like they're marching towards some unknown, ominous event. How do you interpret this work? Curator: You're right, there's a deep unease. For me, "Aftermath," created on the eve of World War II, speaks powerfully to the anxieties of its time. Consider the historical backdrop: rising fascism, economic depression. Can we see this march as a procession towards the abyss? Editor: That's interesting. So, the almost grotesque figures could be read as symbols of a society collapsing under the weight of political and economic turmoil? Curator: Precisely. And the surreal elements—the mannequins, the disembodied eye—might represent the disintegration of traditional values and the fragmentation of identity under such pressures. Do you notice how the mechanical forms contrast with the organic, almost sickly, textures? Editor: I see that now! There’s definitely a tension between the manufactured and the natural…almost as if they’re in conflict with each other. It really emphasizes the dystopian mood. What role does the title play in your reading? Curator: "Aftermath" suggests we're not just witnessing a march, but facing the consequences of a catastrophe. It encourages us to confront the lingering wounds of the past and contemplate a potentially bleak future, relevant then and perhaps disturbingly resonant today. Editor: I hadn't considered how much the historical context shapes the meaning. Now it feels less like a strange drawing and more like a warning. Curator: Art can act as a mirror, reflecting our anxieties back at us. Examining these works through a historical lens reveals their power to speak across generations, prompting essential dialogues about the past, present, and future.