Defosse. Claude (dit Delfosse ou Lafosse). 29 ans, né à Arbeuf (Nièvre). Cocher. Anarchiste. 2/1/94. 1894

Editor: Here we have a gelatin silver print from 1894 by Alphonse Bertillon, titled "Defosse. Claude... Anarchist." It feels very raw, like a document. What jumps out at you? Curator: It’s fascinating to consider the industrial processes required to produce such a portrait. We see here a systematized application of photography; consider the labor involved in manufacturing the gelatin silver print itself. These weren't artistic choices in the traditional sense but were dictated by the demands of mass production and surveillance. Editor: Surveillance? Curator: Yes. Bertillon's work sits squarely within the history of criminal identification. These mugshots weren't meant for aesthetic appreciation, but as tools within a system. Think about the social context. The late 19th century was a period of heightened anxieties surrounding anarchism. How might the materials and mode of production reinforce those anxieties? Editor: So, the mechanical, reproducible nature of photography becomes a tool of control? Curator: Precisely. The photographic process, and the efficient, categorizing gesture of portraiture are bound to social control, moving photography outside traditional art contexts. The subject’s class and profession is deliberately recorded – even pathologized through this standardized visual language. Editor: I see your point. It's not about the artistic merit of the photo but its function within a system of power. It shifts the way you consider the image. Thanks for shedding some light! Curator: My pleasure. Analyzing art through its materials and production offers profound insights into its social impact.