Jérusalem. Portes Dorées 1860

Editor: Here we have Louis de Clercq's photograph, "Jérusalem. Portes Dorées" from 1860, currently at the Metropolitan Museum of Art. It has such a sepia, aged tone... giving the whole scene this almost biblical feel. What stands out to you about this piece? Curator: It is fascinating to see this photograph taken at a time when the medium itself was nascent, a novel form documenting "reality". Note how de Clercq's choice to frame the Golden Gate positions it, even back then, as an inactive entrance-- sealed off according to Jewish, Christian and Muslim traditions awaiting a messianic figure. This act of photographing the Golden Gate in its current sealed state, what do you think it conveys about how the artist understands its religious importance? Editor: Well, it's almost like documenting a symbol in transition… frozen between its historical significance and its anticipated future. How much of an agenda do you think De Clercq might have brought when photographing it? Curator: That’s a critical question. Consider that the nineteenth century was a time of intense archaeological interest in the Middle East, fueled by colonial ambitions and religious fervor. Photography played a role by shaping a visual understanding. In what ways did these photographic expeditions validate or challenged colonial power structures? Was it just historical documentation or were there also socio-political implications at the time? Editor: I see. So this photo is not just an image of a gate but is evidence, a form of discourse shaped by larger historical and political currents of that time. That gives me a lot to consider! Curator: Precisely. Thinking about these issues enriches our perception of even an apparently straightforward image. Editor: This reframes my view of the piece and how much more than just its aesthetic and representational qualities influence how it is perceived and what this piece means to others!