Coal Haulers 1938

Curator: Bernece Berkman-Hunter created this print, titled "Coal Haulers," in 1938. Editor: It's strikingly stark, all blacks and greys rendered with such sharp, graphic lines. It makes you feel the grit and strain of hard labor. Curator: Absolutely. Berkman-Hunter worked in the social realism style, a popular movement in the 1930s, and used the print medium, especially graphite drawings, to document and critique the realities of working-class Americans during the Depression. Editor: And what a reality! The composition is masterful: figures draped and hunched under heavy bags; the texture is crude. It forces you to contemplate their material conditions of toiling and the social framework that keeps them confined to such back-breaking labor. Curator: This scene of genre-painting certainly speaks to the widespread struggles experienced by those living through economic hardship. The setting appears almost claustrophobic, as though they are physically boxed in, not just by labor, but by poverty and lack of opportunity. It’s a stark reflection of the politics of that time. Editor: Indeed, one can't help but think of the implications that come with portraying workers solely through their strenuous physical exertions. Even her material choices like the monochrome graphite heighten the industrial grime of the piece. Curator: Right. The print medium was deliberately chosen and had specific impact in the 30’s, making artworks more accessible. It allowed these visual messages, promoting the plight of the workers, to be disseminated far more widely and potentially galvanize social change. Editor: It also brings into question ideas of art production. Was she only making fine art prints or producing artworks designed for wider, political appeal? The blurred lines create a tension between art and craft that’s at once uncomfortable and highly relevant to the era. Curator: Considering the context within which it was made really brings "Coal Haulers" into sharper focus. I am reminded to see the human stories, struggles, and politics within even a small, monochrome print. Editor: And for me, looking closely at her graphite, really allows you to understand the ways the print was made in light of who it represents. Hopefully listeners now realize these kinds of artworks carry with them deep implications about work, class, and the human cost of production.