Doll c. 1938

Editor: Here we have Harry Grossen’s “Doll,” likely from around 1938. It's a delicate watercolor and drawing. It has a sort of wistful, nostalgic feel. What strikes you when you look at it? Curator: Immediately I am drawn to the materiality of the doll itself, represented here with such palpable presence through Grossen's skilled handling of watercolour. Think about the labour involved in making dolls at this time, potentially pieced together from repurposed fabrics and remnants – the doll's dress seems deliberately 'homespun', no? Its modest quality belies what could have been long hours to construct this garment by hand. The value placed in such a handmade object, especially during a time of economic hardship, intrigues me. What does this material reality suggest? Editor: Well, I see the connection to maybe simpler times. Like, the materials suggest a kind of resourcefulness. And a direct relationship to…domestic work. It's almost like the labour itself is part of the story being told. Curator: Precisely. Notice also the artist's choices regarding representation. Watercolor, itself a relatively inexpensive medium, democratizes access to art-making, mirroring in its own way, the doll’s 'humble' status. We’re invited to reflect on notions of value. Is it inherent to materials or processes? Perhaps embedded within a socio-economic framework? Editor: I see what you mean, that Grossen makes us question what "value" really means, showing how art-making mirrors those kinds of material realities. Curator: Indeed. I think we can appreciate “Doll” as an important illustration into not just the historical time, but as a thoughtful conversation on materiality and cultural relevance. Editor: That really gave me something to think about! Now, I see it a totally different light!