Pedestal [for Woman from the French Colonies] 1861

Editor: Here we have Charles Cordier's "Pedestal [for Woman from the French Colonies]," created in 1861. The pedestal, a mix of bronze and marble, strikes me as almost excessively ornamented, quite busy. What draws your attention when you look at it? Curator: It’s crucial to examine the pedestal as a product of its time. The use of bronze and marble – materials requiring significant labor to extract, transport, and manipulate – speaks to a societal power structure rooted in resource control and exploitation of colonial labor. How does the pedestal’s function to showcase a bust inform your interpretation of this power dynamic? Editor: That's a great point; the materials aren’t just aesthetic, they’re also historical documents. How does this kind of ornate pedestal affect our view of the subject, of the woman depicted? Does it celebrate or objectify her? Curator: I’d suggest considering the implications of “decoration.” This isn't merely about aesthetic value; the pedestal and its embellishments participate in a visual language that served to reinforce social hierarchies, specifically regarding colonized people and labor practices. Think about the tradition of pedestals themselves. Who gets a pedestal and why? Editor: So the pedestal isn’t neutral, it’s an active participant in conveying meaning about the subject and the society it comes from. It reminds me that how something is made is often just as important as what is depicted. Curator: Precisely! The material reality shapes our understanding, directing attention to production. Editor: This has completely changed how I see the pedestal; now I see a monument not just to the woman, but to the labor and power that made such a depiction possible. Curator: And hopefully also, you'll question that power!