Toothpick c. 1939

Curator: Frank Fumagalli’s "Toothpick," circa 1939, captures an unassuming object with meticulous detail through watercolor and drawing. Editor: My initial impression is a feeling of detached curiosity. It’s so minimal, a tool presented almost scientifically, dissected for our analysis. Curator: Absolutely. There is an air of clinical observation. We're presented with the tool itself and a closed version of it underneath, like specimens under glass. The focus invites us to think about social codes of the time, and hygiene, as this piece was created prior to the normalization of accessible healthcare. Consider what it says about social class and self-care. Editor: Indeed, what’s remarkable here is precisely the elevation of a commonplace object. What was this implement made from? What were the processes needed to create it? There's clearly artistry involved even at a purely functional level, not just the painting. I am especially curious as to the tools needed to make something like this in that time. Curator: I'd agree. This period saw increasing anxiety around germ theory, linking the seemingly personal act of tooth cleaning to broader fears of disease and social contagion. We must situate objects like this in a network of knowledge about identity. Editor: The execution is so refined, especially considering the mundane subject matter. The way he renders light reflecting off the handle is superb. But that just emphasizes the core paradox, doesn't it? So much care dedicated to something disposable. The contrast is a key commentary, even unintentional. Curator: Precisely, we cannot divorce form from function; or class from object. Editor: Ultimately, Fumagalli challenges us to think about not only what we value, but also how things are made and perceived through use. Curator: Agreed, Fumagalli’s quiet scrutiny provokes meaningful questions about the intersection of health, labor, and society at large.