Earrings c. 1938

Editor: So, these are drawings of “Earrings” from around 1938 by John H. Tercuzzi, rendered in ink. They remind me of the Art Deco period, with their streamlined and geometric shapes. What stands out to you about them? Curator: Well, looking at these drawings, I’m immediately drawn to the materiality they represent. Consider the original jewelry; what kind of labor went into crafting such precise geometric forms in precious metals and stones? We're not just looking at a design; we're seeing a document hinting at industrial processes and skilled craftsmanship of the time. The consumer culture that drove the demand for such luxury items also shaped their creation. Editor: That's interesting. I was thinking of the design itself, but you're bringing in a whole different perspective, considering the socioeconomic aspects behind the jewelry. The drawing flattens the original production of the object itself... it almost serves as advertising. Curator: Precisely! Consider the division between the artist creating the design on paper and the craftspeople executing the physical pieces. Where does “art” truly reside here, if at all? Is Tercuzzi elevated because he conceives it or is that position occupied by the anonymous people actualizing his vision in expensive metal and gems for sale to a niche consumer market? These drawings offer a fascinating lens through which to examine class and consumerism. Editor: So you're saying the real value might not be in the artistic skill on display, but in the implied value of the earrings themselves as commodities? I never would have looked at it that way. Curator: Exactly. Think about the relationship between high art and decorative art, where do they intersect here? It also shows that everything, even beauty, is interwoven with societal structures. Editor: That makes you see jewelry in an entirely new light. It seems there is more than meets the eye. Curator: Indeed, the visual culture of the artwork can be reflective of its origins.