Figurehead 1935 - 1942

Curator: What an imposing figure! I’m drawn in by the stern, almost judgmental profile rendered here. Editor: I agree, but the impression is less imposing, more decayed nobility to me. There's a pathos in those peeling surfaces. Is this John W. Kelleher’s "Figurehead," dating roughly from 1935 to 1942? Curator: Indeed it is. Kelleher captures a fascinating dichotomy. We see a once grand sculpted figure, seemingly weathered, perhaps neglected, represented in what seems to be mixed media drawing. The portrait gives this powerful presence through its detailed rendering, reminiscent of academic art styles. Editor: Look closely, and the means of its creation reveals the social values embedded in even a seemingly simple object. Notice the pencil strokes combined with what looks like watercolor washes – humble materials to depict an object intended, presumably, for grander purposes, a naval vessel maybe? Is there any data regarding the making or the historical intention of this object and depiction of it? Curator: Archival records suggest this drawing, though realistic in its detail, possibly functioned as a caricature study for a WPA project intended to depict historical naval figures in a heroic manner, to serve, of course, the ideological needs of a country gearing up for war. Editor: That sheds light on the matter, I suppose, though it does seem less like a simple attempt at valorization and more like something imbued with fragility and impermanence given its material execution. The contrast between the intended monumentality and the delicacy of the watercolor illustration underscores the anxieties present during that time period. Even in the peak years of production there was much precariousness to it all. Curator: It speaks to how representations of power, even those meant to inspire awe, are inevitably interpreted and mediated by the socio-political contexts in which they're received. The artwork provides a fascinating case for exploring art's public role and impact. Editor: Well, I'd wager that beyond that initial heroic gesture, the piece’s significance may reside less in propping up ideologies and more on making us ponder labor, materiality, and eventual consumption and disposal… In every sense. The real labor that goes into it all. Curator: A refreshing material counterpoint to the planned display of political influence, don’t you think? Editor: Absolutely! Thank you. It all lies there on the surface for one to appreciate the fragility and decay that's inherently human.