Tiffany Conrad, St. Gabriel, Louisiana 1998 - 2002

Editor: Deborah Luster’s photograph, "Tiffany Conrad, St. Gabriel, Louisiana", created between 1998 and 2002, strikes me with its quiet dignity. It feels both historical and contemporary. What visual cues stand out to you? Curator: The subject’s direct gaze is certainly powerful, but consider also the agricultural setting, the straw hat hanging behind her, her work gloves, the head wrap. Together, these elements are heavily coded in Southern cultural memory, invoking imagery of resilience, hardship, and deep connection to the land. But why use the tintype? Editor: Does the tintype process contribute to that feeling? I thought tintypes died out in the late 19th century. Curator: Precisely. It evokes early photography's association with documentation and remembrance, and perhaps makes us contemplate time, both past and present. Luster uses that association to suggest a continuity between the historical experiences of labor and contemporary life in St. Gabriel. The hat itself, for example, carries multiple layers of significance as both a marker of labor and of place. What stories does it bring to mind? Editor: It brings to mind field work, obviously, and the Deep South, the historical weight of plantation labor, even. But that expression on her face seems to contradict any immediate assumptions about those difficult themes. Curator: Exactly. The seeming serenity speaks volumes about resilience, agency, and self-definition within that history. The way Luster marries that symbolism with the physical, historical process of tintype transforms it. Editor: I’m now seeing the photograph as more than just a portrait; it’s a testament to memory. Thanks for untangling the symbolism! Curator: My pleasure! Recognizing visual codes helps us unravel and appreciate those narratives embedded in seemingly simple imagery.