Battery in the Malakoff 1855

Editor: This photograph, "Battery in the Malakoff," was taken by James Robertson in 1855. It's a gelatin-silver print, and what strikes me most is the sheer amount of…stuff. Debris, equipment, fortifications, all blending together. What exactly are we seeing here? Curator: We’re seeing a landscape of war defined by its materiality. Notice how Robertson, likely in collaboration with Felice Beato, foregrounds the constructed nature of conflict. Gabions—those cylindrical baskets filled with earth—become protective walls. The image reveals the intensive labor required to wage war. The tools and materials used offer a harsh, direct view. Editor: So, it's not romanticizing war at all? More about the physical effort and… building of it? Curator: Exactly. Consider the logistics behind moving cannons, constructing barricades, supplying ammunition. War isn’t just strategy; it’s a monumental effort of material accumulation and organization. The photo shows the gritty, unglamorous aspect of the war industry, wouldn’t you agree? It also suggests that warfare involves immense destruction of natural resources, as evidenced in this shot. Editor: It does feel less about heroes and more about... logistics and the men doing the actual work. Do you think showing that connects it to class or labor in any way? Curator: Absolutely. It raises questions about who bears the burden of this labor, who profits from it, and how those systems perpetuate inequalities. Look at how those fortifications become symbolic barriers, not just physical ones. Editor: That gives me a lot to think about – the human cost represented through objects. It highlights an industry of war more than heroic figures. Curator: Indeed. Hopefully, observing how artistic choices around materiality shape meaning makes for a more informed understanding of art, conflict, and society.