Actie in Djokjakarta 1947 - 1949

Editor: Here we have "Actie in Djokjakarta," a gelatin silver print from around 1947-1949, part of the Associated Press collection. The photograph depicts soldiers, presumably Dutch, in what looks like a street scene. There's a sense of waiting, or perhaps a lull in action. What do you see in this piece, considering the materials and context? Curator: Looking at this from a materialist perspective, it's crucial to consider the gelatin silver print itself. It's a mass-produced medium, reflecting the democratization of photography and its role in disseminating information, including during periods of conflict. The ‘action’ promised in the title is notably absent. What is present, in high volume, are the means of transport, the crates, the literal baggage of the war. Do you see any tension in the representation of military activity versus its daily logistics? Editor: I see what you mean. It’s less about heroic combat and more about the machinery that enables it. The Jeep and crates become the central figures. I guess I hadn’t considered that the photographic print itself is a manufactured object, just like those supplies. It changes the way I view it; I wasn't originally considering labor. Curator: Exactly! How does the materiality of the print itself, this easily reproducible object, shape our understanding of the "action?" And consider, what kind of labor went into producing and circulating this image for public consumption, shaping opinions about the conflict itself? The making of war involves a great many forms of labor, far from the battlefield. Editor: That’s a really insightful point. I was focusing on the subject of the photo, but now I realize the production and distribution of the image are equally important to consider. It gives new meaning to realism in this context. Curator: Precisely. Understanding art as a product of labor and materials expands our appreciation, and challenges what counts as a truthful representation. Thanks for making me rethink it!