Love on the Kamo River 1830

Editor: So, here we have Keisai Eisen's "Love on the Kamo River," a print from 1830. It's surprisingly intimate, almost voyeuristic. What strikes you most about this work? Curator: I am interested in the materiality and production. Ukiyo-e prints like this one were commodities, produced for a specific consumer base. Erotic art had a clear market; its appeal stems from the increasing consumption of pleasure in that period. The elaborate patterns of the kimono and the bedding also demonstrate intricate woodblock printing. It speaks to specialized labor and trade networks. Editor: That's interesting! I hadn't considered it as a commodity, more as an expression of… well, intimacy. Are you saying the intimacy is manufactured? Curator: I’m arguing it's mediated by materials and consumption. These images were printed in multiples, which allows more people to purchase them. It isn't about unique genius; the artists created something reproducable. Editor: So even this suggestive glimpse is more about distribution than anything else? How did these images circulate? Curator: Think about the networks involved: the artist who creates the image, the woodblock carvers who translate it into a printable form, the printers, and then the merchants who sold these in the urban centres and along travelling roads. These materials circulated via trade, fulfilling desire. It reflects social stratification. Did people think this was simply beautiful or did people talk about who and what they were purchasing? Editor: I see what you mean! I always thought about the artistic intention but the intention of distribution is interesting to ponder. Curator: Yes, understanding the commercial aspects alongside the art enhances appreciation.