Redmountain From Nelsons 1937

Editor: So, this is Frank Mechau’s "Redmountain From Nelsons," made in 1937, seemingly a drawing or print, perhaps using pencil or charcoal. The texture really jumps out at me—it looks almost like the mountain itself is woven. How do you read this piece? Curator: I see here a clear statement about the Depression-era social landscape through the lens of materiality. The artist’s choice of inexpensive materials – pencil and paper – speaks volumes about resource constraints and the democratization of art-making during that period. Consider how this very technique, readily accessible, allows for a broader participation in artistic expression and critique. Editor: Democratization, yes. It also seems like he’s emphasizing the physical presence of the mountain itself, less about idealizing nature. Curator: Precisely. Note the marks made by the artist’s hand. They're not trying to create a perfect illusion; instead, we’re made aware of the labour and process. The very act of creating this work is exposed. How does this immediacy connect with other art of the period focused on industrialization or rural experience? Editor: So you are saying the texture isn’t just about the mountain’s roughness, it's about showing the labor of making the image, how much work it took? Curator: Absolutely. The dense hatching and visible strokes elevate what might seem a straightforward landscape to a commentary on labor. Consider the role of the WPA during this time and how that context frames the material choices and subject matter of this work. Editor: It definitely gives me something to think about. Thanks. It makes the piece feel much more complex now. Curator: Indeed. Recognizing the materiality invites a richer appreciation of the social realities embedded within.