Figurehead "General Schofield" c. 1939

Editor: This is "Figurehead 'General Schofield'" created around 1939, a watercolor and drawing piece by Molly Bodenstein. The monochromatic palette and the subject's stern gaze make it seem quite imposing. I am curious about your take. What stands out to you? Curator: I see the interplay of labor and representation here. It's not just a portrait; it's a study of a functional object, a figurehead. We should consider the labor involved in both creating the original sculpture and in Bodenstein's rendering. Think about the social context: what did these objects *do*, and who made them? Editor: So, you're focusing on the process of creation and the object's original function. Did creating artwork in that era affect artists' ability to earn money? Curator: Absolutely. This was created under the Works Progress Administration, right? The New Deal aimed to employ artists, yes, but also to document and preserve aspects of American material culture that were disappearing. Was this sculpture documented, or merely interpreted through a worker's hand? That choice holds layers of meaning about artistic labor. Editor: Interesting. So, Bodenstein isn't just making art; she's preserving history through a very particular material lens? Curator: Precisely. It prompts us to question the value judgments we place on "high art" versus craft. Both required skill, both contributed to the economy. What kind of value did the federal funding program bring at this moment? Editor: That's a really thought-provoking way to approach this. I never really considered that an artist's hand could document, archive, and comment on social circumstances. Thank you. Curator: And I learned the important work programs served, as opposed to mere monetary value and success for individual creators.