Originals & Copies
American Gothic, 1930 (Oil on Beaver Board), By Grant Wood
This upcoming winter, I have a powerful proposal in mind that I am confident would spark meaningful discussions, not only within our institution but across America. As our country grapples with division, I believe it would be both proactive and impactful to shed light on an important aspect of contemporary America: the working class. There are two specific works of art that I believe directly relate to the tensions and adversities that characterize our society today. The first is Grant Wood’s American Gothic (1930, Oil on Beaver Board), and the second is Criselda Vasquez’s The New American Gothic (2017, Oil on Canvas).
Comparing these two works offers a conversation far deeper than the idea that Criselda Vasquez might be simply copying Grant Wood’s original. Instead, it provides a chance to explore how much influence and inspiration she draws from American Gothic and how these two works reflect the evolution of societal tensions and challenges. By providing a broader historical context for both paintings, I am certain our museum-goers will leave with a deeper understanding of Grant Wood’s work and a reminder of how society has changed. They will not only come to appreciate American Gothic, but also develop a greater appreciation for the often-overlooked, hard-working citizens whose crucial roles keep this country running.
With our museum’s resources and the potential for a small fundraiser, we could raise the necessary funds to exhibit the original American Gothic. Displaying this iconic piece in the east wing of the museum, where the natural light floods in through floor-to-ceiling windows, would enhance the presentation and emphasize its visual impact. The significance of showcasing Wood’s original work in this exhibition will allow visitors to better understand the formal and visual elements of both paintings.
It’s crucial to examine these visual elements when considering how Vasquez drew inspiration from Wood’s original. Grant Wood, an Iowa native, was inspired by the Carpenter Gothic-style houses that were popular in the early 20th century, especially in the Midwest, where agriculture was central to the economy. Wood’s commission of his sister and his dentist for the figures in American Gothic reflects the authenticity of rural American life. Everything from the architecture to their clothing offers a snapshot of traditional midwestern culture. The man in the painting stands tall, holding a pitchfork—a tool used to gather hay or straw—while the woman stands beside him, her gaze distant and contemplative. The stillness of her expression and her position behind the man reflect the gender roles of the time, yet her presence is integral to the composition.
In contrast, The New American Gothic by Vasquez takes a familiar concept and reinterprets it with distinct visual elements that reflect her own unique perspective. Vasquez explains, "These portraits and still lifes reveal my family in their own authentic environment and expose how I live in two worlds. My paintings layer the American culture over the Mexican world. I feel society needs to be aware of the humanity on the other side of the door" (Criselda Vasquez, Twistedsifter.com). This statement adds depth to the visual differences in her work. Unlike Wood’s original, where the figures are shown from the waist up, Vasquez presents her parents in full-body portraits. This choice bridges the gap between curated art and lived reality.
In Vasquez’s painting, the woman holds a bucket of cleaning supplies—an important addition that highlights the essential roles women play in today’s working-class society. The bucket is a symbol of the labor many women perform in the service industry, roles that often go unappreciated. Additionally, Vasquez replaces the house in the background with a van—likely one used for storing equipment and supplies—suggesting the kind of work that is often associated with the immigrant and working-class communities. The van symbolizes the hard, physical labor that is a staple of many Hispanic families, who often take on jobs that others are unwilling to do.
This exhibition will encourage critical discussions about how we build and nurture our communities, not just in America, but across the globe. It will also allow us to examine how we view the act of copying and rendering past artworks. Instead of approaching this topic with criticism, we can shift our focus toward curiosity and openness. By analyzing these two paintings, we can reflect on how the image of the working-class American has evolved over time—and whether that evolution is for better or for worse. While some may find the answer obvious, this is a question for our audience to explore and decide for themselves.
I hope you will consider the impact this exhibition could have on society. Not only will it generate valuable dialogue, but it will also elevate the museum’s reputation and provide us with the opportunity to preserve and expand these critical conversations into the future.
