Table c. 1937

Editor: Here we have Anne Ger's "Table," from around 1937, made with pencil and charcoal. It feels so...stark, almost industrial, even though it's just a table. What is your interpretation of this piece? Curator: What strikes me is the stark simplicity and its emphasis on utility. This wasn't just a design *of* a table, but an investigation into the very *idea* of a table: how it's constructed, the materials, its function in domestic space. The medium is equally revealing. A charcoal and pencil drawing is so… straightforward, lacking any decorative flair. Do you see it also reflecting broader socio-economic concerns during its creation? Editor: I see what you mean. It’s not trying to be fancy. You’re thinking about the impact of the Depression maybe? The focus on practicality? Curator: Precisely! The materials themselves are humble and readily available. How might mass-produced furniture during this era contribute to new understandings of labour and consumerism? Editor: It's less about artistry and more about process – the assembly, the accessibility. Was the goal perhaps to elevate design intended for everyday use? Curator: Exactly. This challenges our typical understanding of 'high art' by finding significance in everyday material realities. The image then can be seen to explore broader implications of consumption during this period. Anything else standing out for you in the image? Editor: It definitely highlights a shift in artistic priorities...seeing beauty and value in functional design rather than ornate details. I hadn't considered the materialist lens when looking at what appears to be "just a table." Curator: Indeed. Analyzing the means of production and cultural values embedded within something as simple as a table drawing broadens our understanding about art history and our own place within a system of manufacturing.