Swank 1942

Editor: So, this is Ethel V. Ashton’s "Swank" from 1942. It looks like a charcoal drawing or print of a group of figures all dressed up. I find the whole thing kind of… theatrical, like they’re all characters in a play. What do you make of it? Curator: Theatrical is a wonderful way to put it. For me, I’m drawn to the stark contrast – the way the light catches certain figures and leaves others almost in shadow. Ashton seems to be inviting us to invent stories for each of these characters. I wonder, do you get the impression that they know each other? Are they a family, or perhaps a collection of individuals who find themselves thrown together? The title itself is interesting. "Swank" – it suggests elegance, but also maybe a hint of pretension, don’t you think? It's an attitude, isn't it? Editor: Definitely! It’s like they're trying too hard. Maybe that’s why they seem so disconnected. Do you think the historical context, being created during World War II, has anything to do with the mood of the work? Curator: Absolutely. While not overtly about the war, that sense of societal strain, of holding oneself together while the world feels like it’s cracking, resonates here. Each figure seems so self-contained, almost shielded. The darkness isn’t just shadow; it’s a protective cloak. Perhaps “Swank” is less about arrogance, and more about bravado in the face of uncertainty? A means to pull through. Editor: That's such a different take than what I had imagined initially! So much richer. Curator: Isn't it always? The beauty of art, really, is how it evolves in dialogue. A little historical context and close looking reframes everything. Editor: Exactly, that's what is so interesting! Thanks so much!