Tile 1897 - 1917

Curator: Here we have an intriguing piece: a terracotta tile, created by Charles Volkmar sometime between 1897 and 1917. Editor: It feels like stepping into a dream. The textures and colors, the amber light, it is like looking through a pane of very old glass. Curator: Volkmar was deeply involved in the Arts and Crafts movement, and this tile really exemplifies some of its key philosophies. We see a handcrafted object, prioritizing aesthetic value and everyday function, in direct opposition to industrialized production. The subject matter is also relevant; the rendering of a landscape nods to the growing interest in nature preservation. Editor: Precisely. The fact that it’s a landscape—so tied to notions of purity, escape, and untouched wilderness at the time—renders the use of craft even more meaningful. The labor is visible; it's tangible. Think about the debates swirling then – immigration, urbanization…This romantic vision harkens to simpler, more authentic values in opposition to all that. Who was the target consumer, I wonder? Curator: That’s a good question. Most likely someone among the burgeoning middle class who was looking for alternatives to mass-produced items. People seeking to signal that their values aligned with a slower pace of life, even as they were participating in the expansion of industrial capitalism. A seeming paradox we see throughout the Arts and Crafts movement. Editor: It's an idyllic scene, with those stylized trees silhouetted against what could be sunset... or perhaps the promise of something else entirely. Given when this was made and considering Volkmar’s position as a white male artist, it may be easy to critique the simplification, maybe even sanitization, of labor. But I wonder how contemporary consumers responded to this type of image. Curator: Indeed. And it makes you wonder if, back then, viewers found comfort in the scene or if they found it dull precisely for what it lacks: explicit messaging. What strikes me the most is the materiality – that terracotta gives it this raw and almost archaic presence. Editor: It does. You know, engaging with pieces like this makes me think about the legacy of craftsmanship, and how we can support ethical artistic practices in our present moment. Curator: And for me, it brings into sharper focus the push and pull between the values we publicly profess and the socioeconomic realities that influence our consumption.