Plate Number 158. Jumping, running twist high jump 1887

Editor: So, here we have Eadweard Muybridge's "Plate Number 158. Jumping, running twist high jump" from 1887, a gelatin-silver print showing a sequence of a man performing a high jump. It feels so… analytical, almost clinical in its breakdown of movement. What strikes you about this work? Curator: I'm fascinated by Muybridge's deconstruction of motion and its reliance on technology, in this case photography. The grid-like arrangement of the frames, the stark monochrome tones—they all speak to a desire to dissect and understand the mechanics of the body. How does this impact our perception of labour, both the labor of the athlete and that of the photographer? Editor: That's interesting! It definitely highlights the labor involved, not just physically but also the technological and scientific labour to make the image itself. What was the context for this level of scientific image making at the time? Curator: Muybridge was working in an era of rapid industrialization and scientific advancement, obsessed with quantifying and measuring everything. His work provided studies useful to other artists. Think of the commodification of even something like movement; how could understanding motion potentially be applied to optimizing factory work, military maneuvers or…the spectacle of sports? How do you see this piece reflecting, or perhaps even influencing, ideas of labor efficiency at the time? Editor: Wow, that makes me see this completely differently! It’s not just a scientific document or an artwork; it reflects the application of these technologies. Thanks! Curator: Exactly! By emphasizing these production processes and their societal implications, we move beyond simply admiring the aesthetics, which allows for a broader understanding.