Hero 1947

Editor: This is Alfred Bendiner’s “Hero,” created in 1947. It’s an etching that depicts a bullfight. The sheer number of hats raining down feels almost surreal. What do you see in this piece? Curator: Beyond the literal depiction of the bullfight, I see a complex commentary on power, spectacle, and cultural identity, particularly within the context of post-war America. The frenzied energy, amplified by the raining hats, begs the question: what kind of "hero" are we celebrating here, and at what cost? Editor: That’s interesting. It feels almost celebratory, but I can see how it’s also questioning the glorification of violence. Curator: Exactly. The ritual of the bullfight is inherently tied to ideas of masculinity, dominance, and tradition. Consider, who benefits from this performance, and who suffers? Bendiner made this not long after WWII ended. Does this brutal, if traditional, spectacle tell us something about how some cultures use violence, dominance, and the concept of the "hero" as cultural expression? Editor: So you’re suggesting that this bullfight isn’t just about entertainment, but about ingrained social dynamics? Curator: Precisely. And think about who is missing from the narrative. Are women adequately represented beyond the passive viewership? How does class intersect with who gets to be the hero and who becomes the victim? Editor: It completely changes how I see it. It's not just a picture of a bullfight anymore, it's a critical commentary about the people involved in the process, especially about power. Curator: Art can be such a powerful lens. Sometimes it’s about making us look more closely at things that were in plain sight.