Abstract How might it have felt to have your work on display? Not only the objects you crafted, but your actual labor? He would have known, the glassworker in the window. Charles Mayer and Company, a store in Indianapolis, Indiana, “secured” this anonymous laborer for four days from the Wright Cut Glass Company (Anderson, Indiana) in June 1910 for their storefront window. There, he incised prismatic geometric patterns into domestic wares like bowl and vases, making examples of a then-popular genre of decorative art called “cut glass.” Working primarily from an illustrated newspaper advertisement for this exhibition, this essay takes as its subject a day in the life of this showcased worker and its potential social ramifications. The display, like earlier public demonstrations of glass cutting, made a spectacle of the medium and its production. Importantly, it also made a spectacle of the working-class cutter and his labor. The attraction offered a pointed opportunity for passersby to closely examine and evaluate the cutter as much as the wares being worked. Simultaneously elevating and objectifying the laborer, Mayer’s exhibition could inform how the cutter saw himself and how others saw him and the working classes to which he belonged.

中文翻译：

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窗边的工人：课堂、切割玻璃和工作奇观，1910 年

摘要 展出您的作品是什么感觉？不仅是您制作的物品，还有您的实际劳动？他会知道，窗户里的玻璃工人。1910 年 6 月，印第安纳州印第安纳波利斯市的一家商店 Charles Mayer and Company 从 Wright Cut Glass 公司（印第安纳州安德森）“保护”了这名匿名工人四天，用于他们的店面橱窗。在那里，他将棱柱形几何图案切割成碗和花瓶等家居用品，成为当时流行的装饰艺术类型“切割玻璃”的例子。这篇文章主要是根据本次展览的插图报纸广告工作，以这位被展示的工人生活中的一天及其潜在的社会影响为主题。与早期的玻璃切割公开演示一样，这次展示展示了这种媒介及其生产。重要的是，它还为工人阶级的刀具和他的劳动创造了一个奇观。该景点为路人提供了一个明确的机会，可以像正在加工的商品一样仔细检查和评估刀具。Mayer 的展览在提升和客观化劳动者的同时，可以告知切割者如何看待自己以及其他人如何看待他和他所属的工人阶级。