Wall Paper 1934

Editor: This is "Wall Paper" created in 1934 by Moses Bank, rendered in watercolor on paper. The delicate renderings and quasi-Eastern motifs give off such a placid aura. What can you tell me about it? Curator: It's interesting to consider this piece within the context of Orientalism in the 1930s. How do you think societal views of Eastern cultures might have influenced Bank's artistic choices, particularly in terms of its aesthetics as wallpaper? Editor: That’s a good point. So the aesthetic choices are reflective of what society expected from "oriental" art at the time? I mean, I suppose the title *is* "Wall Paper", suggesting it's meant for broad consumption. Curator: Precisely. The easy accessibility of this drawing points to an interesting phenomenon – the democratization of art through design. Given this intention for mass production and consumption, what implications would that have on Bank's choices of visual representation, and perhaps even any subtle alterations of oriental artistic values for easier assimilation? Editor: So it's both an individual artistic expression and a reflection of popular cultural trends, impacting the composition. How do the institutions displaying works like this reinforce or challenge these dynamics today? Curator: That's a brilliant question. Exhibiting wallpaper designs invites viewers to analyze both its artistic merit and its role in shaping social spaces. Museums, by displaying such works, invite us to critically engage with how art functions as cultural product and signifier. What has changed do you think in contemporary design’s relationship to cultural appropriation? Editor: I hadn't considered it that way. I see now how it speaks to cultural perspectives beyond just simple representation! Curator: Indeed. It makes you think about the ways that we frame history, right? Thanks!