Untitled (Street Game) c. 1935 - 1943

Editor: Rosalie Rush created this woodcut, "Untitled (Street Game)," sometime between 1935 and 1943. The stark contrast really emphasizes the children's activity, but it feels a little ominous, like they are trapped in this rough-hewn space. How do you interpret this work? Curator: This piece resonates deeply with the visual language of social realism and its political undercurrents. Look closely at the scene. It seems to depict a game, but the woodcut medium and stark composition bring forth a sense of confinement, maybe even desperation. Considering the historical context, the work possibly reflects the struggles of marginalized communities during that period. What stories do you think the artist is trying to tell about childhood and community? Editor: I see what you mean. The children's game doesn't feel entirely carefree. It also reminds me of works associated with the Black Arts Movement, expressing a similar concern about societal injustice. Do you think the Black Arts Movement might be in conversation with the Social Realism in this print? Curator: Absolutely. Artists of the Black Arts Movement built upon the foundations laid by social realists. They channeled art as a powerful tool for social change, challenging dominant narratives and reclaiming agency. Rush’s focus on the activity of these children makes me wonder about ideas related to the “double consciousness," and the negotiation of identity within oppressive structures. How does understanding that context affect your view of the artwork? Editor: That adds a whole other layer. Now I'm seeing the children not just playing, but maybe practicing resilience, creating their own world within a limited space. Thanks, it completely shifted how I see the print. Curator: It is an example of how art acts as a cultural mirror reflecting both historical struggles and persistent aspirations for change.