Costume Party 1938

Curator: Arthur Durston's 1938 piece, "Costume Party," done in charcoal and pencil, offers us a fascinating peek behind the scenes, doesn't it? What are your initial thoughts? Editor: It has an interesting energy, a frenetic buzz caught in grayscale. The composition is intriguing – almost claustrophobic, yet everyone seems caught up in their own little world. It feels voyeuristic, like we've stumbled upon a private, perhaps slightly chaotic gathering. Curator: Chaotic is a good word. Look at how Durston renders each figure with distinct characteristics; the melancholic clown, the weary ballerina, the dapper gentleman. It suggests not just a costume party, but a study in characters adopting facades. Costume, for me, is a visual shorthand for social identity, isn't it? What roles are they playing? Editor: Exactly. And think about the classic symbols embedded here: the clown, often representing a tragic figure hidden behind a smile, the ballerina embodying grace but perhaps physical strain. The top-hatted gentleman, suggestive of societal hierarchy or even racial masquerade... Durston isn't merely depicting a party; he's offering us a commentary on societal roles. Curator: I wonder, though, is it commentary, or is it a sympathetic eye? There’s a gentleness to the rendering, despite the almost biting juxtaposition of these characters. The softness of the charcoal lines gives a vulnerability, wouldn't you agree? Editor: It’s there, undoubtedly, the softness offsets any potential cynicism. The print acts almost as a group portrait of the hidden anxieties and dreams, revealed under the umbrella of make-believe. In costume, they're perhaps seeking temporary freedom, from who they truly are. This work of Durston, makes one reflect on the masks people have worn, not for joy, but for acceptance. Curator: Yes. Durston is saying something here about performance, identity, and the strange ways we present ourselves to each other. And, maybe also a little about the ways we hide from ourselves. Editor: Yes, it is as though Durston left breadcrumbs, where everyone is acting, putting up with different facets, and playing their roles, whether sad or dramatic. Fascinating glimpse, indeed.