Labrador Fishing Settlement 

Curator: We're looking at "Labrador Fishing Settlement," an oil painting attributed to William Bradford. Though undated, it captures a moment in maritime history, specifically fishing in the Labrador region. Editor: The first thing that strikes me is the muted palette – ochres, greys, whites – giving it an almost melancholic feel. You can almost smell the cold sea air. There's also something so compelling about the materiality here, the tangible way Bradford handles oil. Curator: Indeed, the romantic aesthetic underscores the drama inherent in this kind of fishing community's landscape and, in its remoteness. Bradford had strong ties with luminist painters, many of whom documented an American experience through the natural world, this painting included. But his depictions of the Arctic pushed the boundaries, showing both the allure and danger of the environment. Editor: Focusing on the process, I see this is also a depiction of labour and resources, human interaction within difficult terrain. Look closely at the craftsmanship on these vessels, and understand the labour-intensive activity required for sustenance here. The boats themselves almost become characters in the composition, crafted as tools within an economic setting as well. Curator: Right, we can consider Bradford's expeditions as deeply influenced by societal perceptions of both progress and landscape. Think about it—this area also offered access to fur and the hunting of whales. Bradford, like many artists, both benefitted from and propagated certain perceptions tied to exploitation in natural contexts. Editor: These landscapes can conceal stories of commerce. The rugged beauty serves a practical narrative where material sustenance relies so entirely on the skills and resourcefulness that the people employed in those landscapes demonstrate. Curator: It does make you consider how art can function as both document and romanticized vision. "Labrador Fishing Settlement" provides insight into history. Editor: And hopefully urges us to question who benefits from particular narratives and who is left outside of the frame, and that art is very much at play there.