Ostende, Belgium, from the Surf Beauties series (N232), issued by Kinney Bros. 1889

Editor: Here we have "Ostende, Belgium, from the Surf Beauties series (N232)," created around 1889 by Kinney Brothers Tobacco Company. It looks like a print, maybe a drawing or a photograph even. I’m immediately struck by how this image, seemingly innocent, kind of objectifies the woman on the beach. What's your take on this, especially considering when it was made? Curator: I agree; what we see here is far from simple beachside fun. We must consider this image in the context of the late 19th century—a period defined by expanding industrial capitalism and European colonial projects. How does the representation of this "surf beauty" reinforce the male gaze and the commodification of women? The "Surf Beauties" series as collectible cards marketed with tobacco, what associations does this layering bring to mind? Editor: So it's more than just a pretty picture… it's reinforcing certain power dynamics? Curator: Exactly. The image participates in a broader historical pattern where women's bodies become objects of consumption and desire, furthering existing inequalities. It makes you think, doesn't it, about how early advertising imagery was contributing to constructs of femininity that persist today. Is there an implied spectator here and what part might he or she be playing? Editor: I hadn’t considered it that way. It makes you wonder about the message being sent through something as seemingly trivial as a collectible card. Curator: Indeed. By looking critically at even these small artifacts, we uncover the deeply embedded ideologies of gender, class, and colonialism that continue to resonate today. Thanks for that insightful response, and an invitation to explore further layers! Editor: This has really shifted my perspective! Thanks!