Bit c. 1936

Curator: Here we have William Herbert’s, “Bit,” from around 1936. It's rendered with watercolor, ink, and pencil on paper. Editor: Stark. And meticulously depicted! The precision gives it an almost diagrammatic quality. But also, brutal in its implied function. Curator: Absolutely. This piece gives insight into the kind of functional and utilitarian art produced in this era and is evidence of its purpose of educating a larger audience. Editor: The geometric floral motifs inlaid…do these symbols speak to power? Control? Even refinement, despite the tool's function? The stylized flowers soften what is at its core an instrument of constraint. It has almost the visual structure of a heraldic crest. Curator: Yes, it also showcases the culture surrounding livestock and equestrian activity at the time, but note how Herbert is elevating everyday life here to something noteworthy. We get a study of both status and how it reflects the animal-human relationship. Editor: And that visual language carries complex emotional baggage. The formal arrangement of shapes—circles, lines, curves—resonates universally. This bit becomes more than metal, more than tool...it mirrors back anxieties surrounding control. Curator: And the choice to make an artwork out of such an instrument during an economic downturn like the Depression…What is that trying to say? I think it might signal hope for a return to previous, perhaps better economic circumstances and stability. Editor: I see how its functionality can have an appeal as much more than just art; more like a beacon of hope. What a stark way to explore something so personal, the visual symbols and even anxieties present, within a larger history of social and political context. Curator: Precisely. These kinds of practical fine art techniques opened new windows of expression for a time in social development. Editor: It leaves me reflecting on how these stark, detailed objects are laden with echoes from their place and time, still speaking to viewers today.