$he(1958) 1982

Curator: Richard Hamilton's "$he," from 1958, presents a fragmented view of domesticity. It's currently held in the Tate Collections. Editor: My first impression is one of unease. The disjointed forms and muted colors evoke a sense of alienation. Curator: Absolutely. Hamilton critiques the commodification of women through advertising. The title itself, "$he," with the dollar sign, points to the economic objectification inherent in consumer culture. Editor: The imagery—a woman, a toaster, household appliances—speaks volumes about the postwar ideal, doesn't it? It highlights the expectation that women should find fulfillment in domestic roles. Curator: Precisely. We can even read a feminist critique here, long before such rhetoric became mainstream. Hamilton exposes the ways in which identity is constructed and constrained by market forces. Editor: Looking at it again, I'm struck by how relevant this piece remains. The pressure to conform to societal expectations hasn't disappeared, it's just evolved. Curator: Indeed. Hamilton’s work is a reminder to critically examine the narratives that shape our understanding of ourselves and the world around us. Editor: An important point. I'm left pondering how far, or not, we've progressed since the late 1950s in dismantling these restrictive roles.