Illustration from Sebastian Brandt: Navis Stultifera, Basle, Bergmann van Olpe, 1497 1485 - 1528

Editor: Here we have a woodcut illustration from Sebastian Brandt's *Navis Stultifera*, printed in 1497. It's a stark, almost unsettling image of a jester leading an ox. What do you make of it? Curator: It’s compelling to consider this image as a product of its specific historical moment, printed in Basle by Bergmann van Olpe. The very materiality of the woodcut, the labor involved in its production, speaks volumes. How was this book disseminated? Who had access to it? The means of production themselves informed its reception. Editor: That's interesting. So, you’re saying we should look at the woodcut itself as an object, not just an image? Curator: Precisely. The image's dissemination – a relatively reproducible medium – becomes a key factor. The accessibility of printed text, contrasted with hand-scribed works, created entirely new relationships between image, text and audience. Editor: So, the choice of a woodcut tells us something about who Brandt wanted to reach? Curator: Absolutely. It’s about understanding the social context of production. How did the economics of printmaking affect the imagery itself? This is not just about artistry but also the socio-economic conditions in which this object was made. We need to think critically about the interplay between labor, materials, and the cultural message it conveys. The text is as much of an image as the... well, image. Editor: I hadn’t thought of it that way. Focusing on the process of creation really opens up the interpretation. Curator: Indeed. By understanding the mechanics of production, we understand the constraints and opportunities afforded to the artist, and thus a deeper understanding of the piece itself.