Cutting Fodder 1938

Curator: "Cutting Fodder," a 1938 etching by John E. Costigan. Editor: There's such an elemental quality here. Stark and heavy, yet with a strange serenity. I keep thinking of folk tales... witches or wandering shepherdesses, or something like that. Curator: It definitely has that archaic feel. Costigan's known for these realist scenes depicting rural American life, often focusing on labor and the everyday experiences of farming communities. Editor: The way he uses the etching, it almost feels like faded charcoal, you know? And look at how the mother's gaze lifts, almost as if she's yearning, yet resigned, all at the same time. Curator: Right. His works came about in a time of great transition and upheaval during the Great Depression. The etching medium allows for the reproduction of images for broad consumption, often with social commentary. Editor: She looks like a Madonna, almost, yet she is surrounded by...goats! And look at that faceless figure looming in the back. Are those waves of wheat or a deluge heading toward her? I'm left thinking more of ancient agricultural rituals. What's fodder anyway? Curator: It refers to coarse food for livestock, like hay or straw. The artist shows a clear interest in figuration and a deep engagement with working class. Costigan explored this realm with great intimacy. Editor: Well, "intimate" may not be my first descriptor here, more like stark. There's a story in that stillness, I think, of the quiet grit of getting by, and the unexpected beauty of those small pockets of time when we raise our heads, and breathe. It’s rather somber, yet… strangely comforting. Curator: Exactly, an exploration of humanity under duress. It reminds us of how art can reflect our relationship with nature and community when material realities and political instability impose unprecedented strain. Editor: I get that tension for sure, yet find the piece still quite striking!