Kantoren van de Heiligen der Laatste Dagen-kerk in Salt Lake City 1924 - 1926

Editor: We’re looking at a gelatin silver print by J. Dearden Holmes, "Kantoren van de Heiligen der Laatste Dagen-kerk in Salt Lake City," created between 1924 and 1926. It’s a fascinating cityscape! What really strikes me is the sense of order and almost…grandiosity. What do you make of it? Curator: It's a telling image of its time. Look at how Holmes positions the Church offices, bathed in a rather soft light. He juxtaposes the solid permanence of the building against the burgeoning car culture. This photo operates within the project of defining Salt Lake City as a modern, yet divinely-ordained metropolis. How does this depiction influence perceptions of the Church itself, do you think? Editor: It definitely reinforces an image of power and stability, associating the church with the modern progress represented by the automobiles. Almost as if they’re saying the church is keeping up with the times! But is it celebratory, or just…documenting? Curator: That’s a crucial question. Consider the intended audience. This likely wasn't just an objective record; the image probably aimed to project a certain image outwards, influencing both members and non-members. Perhaps to quell anxieties about rapid urbanization in the 1920s. This kind of imagery often performs cultural work. Editor: I see what you mean. So the seemingly straightforward photograph is actually a carefully constructed statement about the Church’s place in society? Curator: Precisely. It reflects the social and cultural dynamics of the time, subtly shaping public opinion through its composition and content. It highlights the inherent politics of visual representation. Editor: That's given me a lot to think about. I’ll definitely look at photographs from this period in a different light now. Curator: Glad to have shared that perspective, it is truly an artwork rich in history.