Omslag met een serie over de Abdij van Middelburg c. 1900

Editor: Here we have an "Omslag met een serie over de Abdij van Middelburg," or "Cover with a series about the Abbey of Middelburg," by Gebroeders van Straaten, dating from around 1900. It's a printed piece on paper. It feels rather stark. What strikes you about it? Curator: I see the aging paper, its texture almost coarse, a key material signifier. The typography, although seemingly simple, tells a more complex story of production and access. Think about who produced this cover, who consumed it, and how that act of consumption reinforces or challenges class structures. Editor: So you're saying it's less about the image of the abbey and more about the socio-economic context of its production and use? Curator: Precisely. The very paper stock speaks to accessibility and cost. Was this a mass-produced item for tourists, or something more exclusive? Who were the Gebroeders van Straaten? Understanding their position within the printing industry of the time reveals so much more than the mere subject matter. Editor: That’s a good point, the texture and quality must've made a difference. How does that then challenge any ideas about “high art”? Curator: The production of printed material like this often gets overlooked in favor of painting or sculpture, for instance. But consider the labour involved, the design choices influencing mass appeal, the dissemination of information. It's all part of a broader material culture that we should interrogate with as much rigor as so-called "high art". This was designed to sell copies, designed for commerce and not as an individual artistic vision of its creator. Editor: It shifts the focus from the artistic genius to the process and its societal implications. Curator: Exactly. Next time you see an object like this, ask yourself: What materials were used, who made it, and what social relations does it represent?