Miss Deerya, from the Actresses series (N190) issued by Wm. S. Kimball & Co. 1889

Curator: This is "Miss Deerya, from the Actresses series (N190) issued by Wm. S. Kimball & Co.", dating back to 1889. Editor: My first impression is one of cool detachment. The monochromatic palette, coupled with the almost stark simplicity of the composition, gives the subject a sense of removed elegance. Curator: Indeed. These cards were originally inserts in cigarette packs, appropriating portrait photography of actresses to promote products. In doing so, it transformed these women into commodities. Think about how notions of femininity and celebrity were being packaged and sold during that era. Editor: Interesting! Speaking solely of form, the image plane seems shallow, almost flattened. It emphasizes surface texture while it de-emphasizes depth of form. Also, the subject’s gaze is direct. There is the hint of chiaroscuro which shapes the volumes of the hair and neckline, a subtle modeling. Curator: Yes, that flattening aesthetic also mirrors the influence of Ukiyo-e prints, where flatness emphasizes the graphic qualities of the figure. These cards tapped into that Japonisme trend, which became widespread. There's an added layer regarding power dynamics; how are these actresses perceived as performers and how is their image being used? Are they consenting? Profiting? Editor: Focusing on the cigarette branding integrated at the top… the text has a bold typeface. The formal contrast highlights that era’s growing dependence on advertising. Curator: Absolutely. These objects blur the line between art, advertising and entertainment. Think about how that plays out with present day commodification and representations of female figures, for example. Editor: Looking closer at the printmaking quality of the card itself, the use of halftone patterns allows us to trace visual data. The dots create both image and form using these visual means. Curator: By putting figures like Miss Deerya on these cards, we might wonder, were they celebrating the individual woman or merely utilizing an image of fame? Editor: What seems clear, after taking a closer look at these dimensions, composition and halftones, is how the inherent logic within image design contributes both to what is presented to us and, perhaps more importantly, how we accept the image presented to us. Curator: Reflecting on this, I find the ways it challenges our own consumption and reproduction of imagery especially significant today. The card holds more value, now, as a document that triggers larger conversations.