Bishop Hill: Newel Post 1939

Editor: So, here we have Archie Thompson's "Bishop Hill: Newel Post," created in 1939 using drawing and wood. It’s deceptively simple; a very focused depiction. What strikes me is the emphasis on craftsmanship, the tangible element. What do you make of it? Curator: The artist highlights not just the final product but also the process of creation. This newel post wasn't magically there; it emerged from raw material, shaped by human hands, with particular tools, invoking a lineage of labor and skill. The wood grain, the careful rendering – it all speaks to the maker's investment, beyond pure functionality. What kind of access to woodworking materials and expertise might Thompson have had in 1939, and how might it affect my view of this piece? Editor: That's a very different approach than I anticipated. Thinking about it as labor, the artistic skill necessary to draw something that accurately is really noticeable. How would you situate this against other kinds of art being made in that era? Curator: This was the late Depression era. Artists across different styles, from the WPA murals to regionalist painters, were engaged with portraying the everyday realities of American life, sometimes reflecting both skill and access to economic support through these federal art projects. Where would this object stand outside the drawing as something materially to be purchased or commissioned? Does that consideration of economic demand influence the art? Editor: It adds a layer of social commentary I hadn't considered. Curator: It shifts the focus. We see it now not just as art, but as a product of specific economic conditions and a testament to a certain kind of manual competence. Editor: This definitely reframes how I think about art as an object reflecting specific practices. Thanks!