Untitled c. 19th century

Editor: So this is an untitled print, likely a woodcut or wood-engraving, by William B. Closson from around the 19th century, at Mia. The figures look quite small within the landscape; there's this kind of epic feel to it. What do you see in this piece? Curator: What I see is the power dynamics inherent in landscape depictions, particularly in the 19th century. Notice how the figure, driving the horses, dominates the composition despite its relatively small size. This control over nature, portrayed through the harnessing of the horses, mirrors broader socio-political ideals of the era. Do you think it reflects specific narratives or political messaging? Editor: It could! I guess I hadn’t really thought about the power relations being communicated in a simple landscape like this. It does seem like there is the figure almost battling nature by pushing forward with all these horses. How does this relate to how these prints were used and seen at the time? Curator: Well, prints like these often circulated widely through publications, shaping public perceptions of the land and its potential. They served as tools for promoting national identity, encouraging expansion, or reinforcing existing hierarchies. Even an “untitled” work gains significance through its context, telling stories about the prevailing ideologies and who had the privilege to articulate them through art. Consider the institutions like the Mia, and their role in assigning value, giving access, to what stories can be told. Editor: That makes a lot of sense. It’s really interesting to think about how something that seems like just a landscape could be loaded with so much cultural meaning. I'll definitely look at similar works differently now! Curator: Exactly. Examining the history of artistic practices sheds light on art as a powerful medium in public sphere, don't you agree? Editor: Yes! It sounds good to me!