Dolphin Candlestick c. 1936

Editor: Here we have Ella Josephine Sterling's "Dolphin Candlestick" from around 1936, rendered with colored pencils. I find its simplistic color palette somewhat calming. What do you see in this piece? Curator: For me, the interesting thing about this work is less about the artist's hand and more about the implied manufacturing process. What kind of labor was involved in producing an object that this drawing represents? This candlestick implies a whole network of extraction, production, and, ultimately, consumption. Editor: I hadn't thought about it that way. The candlestick design feels pretty specific; does that inform your interpretation? Curator: Absolutely. Consider the context: 1930s America. A decorative art piece like this wouldn't be considered "high art," but its presence points to a growing consumer culture. The artist isn’t necessarily celebrating it but documenting a shift in material culture. It makes you consider what materials this would be created out of – and by who. Editor: So, by focusing on the object depicted rather than just the drawing itself, we can unlock deeper insights into society at that time. Curator: Precisely! Think about the source of materials. The design also evokes a certain aspiration, doesn't it? Mass production makes accessible a taste for luxury and fine design once reserved for the elite. Editor: I never considered decorative arts this way before. It highlights how everyday items are part of a broader network of materials and labour. Curator: Exactly! Looking at art through a materialist lens really challenges that separation of art and everyday life, shifting our focus from artistic genius to collective production and consumption.