Woman Standing Near a Pond 1880

Editor: We're looking at Edward Mitchell Bannister's "Woman Standing Near a Pond," created around 1880, using oil on canvas. It’s a rather tranquil landscape, and the woman is almost secondary to the scene. What's your take on this work? Curator: From a materialist perspective, it's fascinating to consider the ready availability and cost of oil paints in 1880, enabling a painter like Bannister to capture the light and textures of this scene. Bannister was African American; consider the social context, where the commodification of landscapes often ignored the realities of labor and access for people of color. Editor: That’s an interesting point! I hadn't really thought about that in terms of landscapes. So, is the landscape then making a commentary? Curator: Perhaps indirectly. Think about who *owned* land and the means of representing it. Bannister is making an intervention, staking a claim. He's using readily available materials and the conventions of landscape painting, yet is claiming space within it, both literally and figuratively, subverting expectations through the means of production itself. Editor: So, even just the act of Bannister, a Black artist, engaging with landscape painting is a statement? Curator: Precisely! By depicting a woman peacefully within this landscape, he’s challenging established narratives about who belongs, whose labor counts, and who has access to leisurely pursuits. Consider also the skill involved in applying the paint itself. The materiality isn't just about the cost, but about Bannister's craft. Editor: I’m seeing this painting in a completely different light now, by understanding it as not only representation but about materials, access and making. Curator: Exactly! Understanding art through the lens of production and social context enriches our appreciation significantly. Editor: I will be sure to look for labor context in painting more moving forward! Thanks so much!