Toothpick Holder 1884 - 1893

Editor: Here we have an unassuming object titled *Toothpick Holder*, crafted sometime between 1884 and 1893 by the New England Glass Company. It's made of glass, of course. The textured surface makes me think of a rippling body of water. What draws your eye when you look at this piece? Curator: Immediately, I'm struck by the democratisation of material here. It's just glass, yes, but look closer. It's molded, manipulated – evidence of repetitive labor transformed into something deemed worthy of display. This object reveals a tension. How can mass production become art? Was the New England Glass Company challenging those established hierarchies, or merely participating in a system of object creation dictated by consumer needs and wants? Editor: I see what you mean about the labour. You can really see that tactile manipulation of the medium itself. Do you think the intended use of it — as a simple, domestic object— influences how we see its artistic value? Curator: Absolutely. Consumption and utility are key factors here. The everyday nature of a toothpick holder invites reflection on industrialization. Think about how easily such an object could become another nameless item, or landfill. This particular piece exists here now, elevated. Was that the intent, or merely the consequence of its survival? The fact that the materiality— the glass, the way it was pressed and formed – lends it that feeling of timelessness says a lot. It survived and persists as a point of interrogation about labour. Editor: So, it is the context of production, combined with its endurance, that elevate it to art? It's not about inherent aesthetic value but rather the social and historical narratives it embodies. Curator: Precisely. And consider how a simple piece of glass, readily manufactured, becomes a reflection of its time, its labor. The everyday transformed through context, survival, and now our discussion. Editor: Fascinating. I'll definitely look at decorative arts differently now. It is not merely form but social commentary.