The Bridesmaid n.d.

Editor: Here we have "The Bridesmaid," a print by George Baxter. The date is unknown. I am struck by the smooth surface, it almost doesn’t feel like paper. What can you tell me about this work? Curator: The real intrigue for me lies in Baxter's patented process, Baxter Prints. He was obsessed with how things were made, taking out multiple patents to try and establish unique and secure colour printing techniques. His aim was mass production and an industrial challenge. What do you think this reveals about artistic ambitions at the time? Editor: It makes me rethink assumptions of fine art; this was intended for mass consumption! Was that common at the time? Curator: Precisely! He aimed to popularise art, breaking down the boundaries between high art and common print. Look closely at the layered textures – evidence of a multi-stage printing involving engraving with oil colours, something most fine artists considered trade work. Editor: So, in essence, he was experimenting with techniques to democratize art by producing these in mass. But the materials must’ve influenced his artistry. Curator: Absolutely, and he sought to control it; the cost and availability of paper, inks, even the labor involved, fundamentally shaped what he could achieve. Can we really separate the "art" from those very material and economic concerns? How does understanding the economics of printmaking change the way we value this artwork? Editor: Thinking about art through its means of production rather than just the final image really shifts my understanding. It seems there are no neutral materials, as all involve a socio-economic context to their presence. Curator: Indeed. It urges us to reconsider where art ends and material culture begins.