Monument voor James Wolfe, Québec 1924 - 1926

Editor: Here we have J. Dearden Holmes's photograph, "Monument voor James Wolfe, Québec," taken between 1924 and 1926. It’s a photogram featuring a monument. It strikes me as being about how we memorialize history, almost in a postcard format. What layers do you see in it? Curator: This image immediately makes me think about the politics of commemoration. Here's this stark monument, presumably to a colonial figure, standing prominently in the landscape. Think about who decides which figures are worthy of such prominent displays and what narrative that monument reinforces. Editor: It seems… nostalgic. Does that fit with the politics you mentioned? Curator: Nostalgia is absolutely a tool. Often, these kinds of images of monuments are created to solidify certain histories within the public consciousness, constructing a shared understanding - or misunderstanding - of the past. Who is this nostalgia *for*, and what does it serve? Editor: So the photographer might be subtly participating in that process? Curator: Exactly. Photography, particularly in the early 20th century, played a huge role in shaping national identity and collective memory. Think about the target audience of these images, possibly tourists, and the message being conveyed. Editor: This makes me consider what's missing from the image – what perspectives aren't represented in this ‘postcard’ version of history. Curator: Precisely. Examining such a visual document helps us investigate power dynamics inherent in creating and circulating these kinds of images, even today. Editor: I’ll definitely look at other ‘street photography’ very differently. Thank you!