Horse Weather Vane c. 1938

Editor: So, this is Lloyd Broome’s "Horse Weather Vane," made around 1938. It's wood, carved into the shape of a running horse. I find it really interesting how it’s both a sculpture and a functional object. What strikes you about it? Curator: Well, consider the materiality. Wood, a readily available resource, particularly in rural communities during that era. This wasn’t some rare, imported marble; it speaks to resourcefulness. More than pure artistry, Broome’s choice reflects the available technology and societal needs; its about production and how goods are used to generate communal meaning. Editor: That’s a great point. It wasn’t just about aesthetics, it’s a useful tool that everyone in town could appreciate! So how does that change the conversation surrounding what makes great “art?” Curator: Exactly! Think of it less as high art, and more as vernacular expression. What kind of labor was required? Carving demands skill, but also time, impacting the product's monetary value, compared to an industrial counterpart, not to mention, a connection to labor entirely missed in a drawing, or even mass-produced work! This weather vane shows an intricate relationship between local resources, handmade production, social value, and pure artistic endeavor, therefore complicating traditional boundaries. It begs us to question what art even is. Editor: Wow, that's fascinating. I've never thought about art being so deeply tied to labor and the community like that. I see it as a very useful piece of folk art now. Curator: It underscores art's integral connection to culture, utility, and production – not just aesthetics!