Jazzband at Silver Slipper, Key West 1936

Editor: This is Waldo Pierce’s “Jazzband at Silver Slipper, Key West” from 1936, a print rendered in pencil. It really captures a lively, bustling scene with this cool jazz band, and what strikes me is the somewhat detached, solitary figure of the sailor in the foreground. What’s your read on it? Curator: It’s fascinating how Pierce situates this sailor within a highly racialized, socio-economic context. Key West in the 1930s was a place grappling with the tail end of the Harlem Renaissance's influence trickling southward alongside deeply ingrained racial segregation and economic hardship. Editor: So, how does that play out here? Curator: The jazz band, likely comprised of African American musicians, were a major draw for entertainment, particularly for white audiences. But there’s this inherent power dynamic; the black musicians provide the entertainment, while the white sailor passively observes. Does he engage with the music, or is he merely a consumer of Black artistic labor? Editor: I hadn't considered that perspective. The sailor’s kind of isolated. Is he a tourist? Curator: Possibly. What does it mean for Pierce, as a white artist, to capture this moment? Is he commenting on this dynamic, or simply documenting the scene? This is where the politics of representation come in. Whose story is being told, and for what audience? Editor: So the sketch becomes a record of a specific, loaded moment in history. Curator: Exactly. It's not just a casual sketch, it reflects broader social inequalities and the consumption of black culture in that era. Now, I see more depth and tension. Editor: This sheds new light on the power dynamics present in the piece. I really appreciate your insight.