Old Raven 1936

Editor: Here we have Henri Emerson Tuttle’s “Old Raven,” a 1936 etching. It’s stark, almost severe. I’m struck by the precision of the lines – you can practically feel the texture of the bird's feathers. What is your interpretation? Curator: From a materialist perspective, I'm drawn to the labour embedded within this printmaking process. The artist's hand is intensely present. Think about the deliberate, painstaking actions required to create the matrix, and then the repeated application of pressure during the printing process. Editor: So you are focusing more on how it was made than its message? Curator: Not exclusively, but the “how” illuminates the "what". The very choice of etching, a process demanding controlled pressure and chemical action on metal, tells us something about the artist's engagement with both nature and industry. Notice the variations in line weight achieved through different biting times? What does this tell you? Editor: It shows skill and intention but it also points to the alchemical aspect. The final image is partly determined by chance reactions and the degradation of materials. So is there a tension between control and chance involved in printmaking and captured by the artist? Curator: Precisely! And consider the paper itself, likely a mass-produced item even in 1936, linking the fine art print to a broader network of consumption and accessibility. By understanding the means of production, we see "Old Raven" not just as a representation of nature, but as a material object, embedded in specific economic and social conditions. Editor: It is fascinating to realize how deeply interconnected the image and process are, and it highlights labor, choice and even broader historical context!