Gezicht op een herberg te Lowell before 1892

Editor: This is "Gezicht op een herberg te Lowell," or "View of an Inn at Lowell," made before 1892 by an anonymous photographer, using the albumen print process. I find it intriguing how the rigid geometry of the building contrasts with the organic forms of the trees surrounding it. What do you see when you look at this work? Curator: I see the albumen print as more than just a photograph. It’s a physical object, created through specific chemical processes and labor. The egg white used for coating, the silver salts reacting to light – these materials connect the image to a network of global trade and local practice. Considering this was made before 1892, the process of constructing an image would've required significantly more time than a simple point-and-shoot picture today. The social context is vital too. How would an image like this have been consumed, circulated? What function did it serve in shaping perceptions of this inn or of Lowell? Editor: So you’re suggesting the materiality informs its meaning, and shifts it away from simply being a documentary photograph? Curator: Precisely. It is not a neutral record. Think about the labor involved in preparing the albumen, in coating the paper, in the exposure and development. And consider who had access to photography at that time? The photograph becomes an artifact embodying technological advancement, labor practices, and systems of dissemination. Does it become 'high art' simply through display or context? Editor: I never considered how much the method of creation impacts how we perceive the final image! I guess looking at art from the perspective of the materials involved opens up a whole new way of understanding it. Curator: Indeed. By emphasizing process, labor, and context, we move beyond simply appreciating the aesthetics and engage with art’s place in broader economic and social structures.