Isaac David Bella, Transylvania, Louisiana 1999

Deborah Luster made this tintype portrait of Isaac David Bella in Transylvania, Louisiana. Tintypes were most popular in the mid-19th century, especially during the American Civil War, because they were inexpensive and didn't require long exposure times. Luster, however, returned to this antiquated technique in the late 20th century. What does it mean to use an obsolete photographic process to document present-day subjects? The contrast between the contemporary figure of Bella and the historical medium is a key to understanding this image. Perhaps Luster wants us to reflect on our own contemporary moment through the lens of the past. The anachronistic form encourages us to think about social, cultural, and technological change and consider the continuities and discontinuities of American history. Understanding art requires us to engage with social and institutional context. To understand Luster’s practice better, we might investigate histories of photography, the American South, and contemporary portraiture.