Capitol of Massachusetts in Boston, from the General Government and State Capitol Buildings series (N14) for Allen & Ginter Cigarettes Brands 1889

Editor: Here we have "Capitol of Massachusetts in Boston," dating back to 1889, from the Allen & Ginter Cigarettes Brands series. It's a coloured-pencil print, a rather striking cityscape. I’m curious – what stands out to you about this image? Curator: For me, it's all about the means of production here. Consider the context: this image wasn't intended as high art. It was a collectible insert for cigarette packs. Think about the labour involved in creating countless copies, the accessibility it provided, and the ways this image circulated among the populace. How does that affect our perception of its value? Editor: That’s fascinating! It makes you consider its reach in a whole new way. Curator: Exactly! And look at the materiality. The coloured pencil medium, reproduced as a print – this blurs the line between 'original' artwork and mass-produced commodity. Was it viewed as disposable or precious? Furthermore, its inherent function as a method for advertising is noteworthy when analyzing its aesthetic appeal. Editor: I see what you mean, it changes the dynamic when considering that it’s mass-produced as advertisements and not fine art. Curator: Precisely. Think of this in terms of social reach. What implications would a mass media advertisement depicting state-of-the-art government infrastructure have? Editor: It democratizes art, in a way, by putting it in everyone's hands. It gives ordinary people exposure to architectural ideas. Curator: And to specific ideological constructs. I suppose now that looking at its composition gives us further insights into the message that Allen & Ginter aimed to disseminate. Editor: This really shifts how I understand the work. I wouldn't have thought to examine the historical distribution methods of art itself when considering the aesthetic style and intent. Thanks for your insights! Curator: My pleasure! It’s vital to consider all components and contexts of production. Now go forth and think materially!