Bonnet c. 1937

Curator: This watercolor drawing on paper, simply titled "Bonnet" by Dorothy Gernon, dating to about 1937, is quite interesting. It depicts a bonnet alongside sketchier, less realized versions. Editor: It’s charming. The main bonnet is so meticulously rendered, especially compared to the studies beside it. What jumps out to you? Curator: The material aspect. Watercolors, paper, colored pencil—relatively accessible means to create a potentially luxurious object. But, what's the context of the bonnet itself? Consider its construction, the labor involved. Was this intended as a pattern? A means of disseminating fashion to a wider audience, utilizing easily sourced materials? Editor: That's a fascinating perspective, looking at it as a potential pattern or design. The craft involved suddenly becomes a central idea. Do you think that changes how we view the 'art' aspect? Curator: Absolutely! We tend to elevate painting or sculpture, associating them with the “fine arts”, whereas, clothing production, particularly at that time, might have been considered "craft," perhaps a domestic skill. However, both rely on skilled labor. By depicting a bonnet with the methods we use to document "fine art", Gernon pushes us to challenge those classifications. Who is making this, and for whom? What is the socio-economic standing of these artisans, whether imagined or real? Editor: I hadn't thought about those social implications before, that the creation is as important as the image itself. Curator: Exactly! Thinking about material context reshapes our perception of art and challenges its assumed hierarchy. We shift focus from aesthetic contemplation toward considering how materials and methods connect with larger social systems and labour conditions. Editor: I see what you mean, it gives "Bonnet" a much deeper resonance. Thank you.