The Actor Ichikawa Komazo I as Kawazu Saburo in the play "Kaido Ichi Izu no Harugoma," performed at the Nakamura Theater in the first month, 1766 1766

Editor: This is a woodblock print from 1766, titled "The Actor Ichikawa Komazo I as Kawazu Saburo..." by Torii Kiyomitsu, currently at the Art Institute of Chicago. The figure's robe really captures the eye, the way it drapes and its very graphic design. How do you see this work? Curator: Let's look at the material conditions. These Ukiyo-e prints weren't precious objects for the elite, but rather a product made available for mass consumption. This image highlights the actor Ichikawa Komazo. He is not just an actor, but a consumer product. Think about the process of producing such a work, the collaboration between the artist, the woodblock carvers, and the printers. It reflects a highly specialized form of labor aimed toward creating an accessible, commodified representation of celebrity. Editor: That’s interesting – a "consumer product" of a person. I never considered that. Does that democratize art, since it becomes more widely available? Curator: Potentially. Ukiyo-e prints opened a door by representing Kabuki actors, courtesans, and urban life for a broader audience, not just the aristocracy. But we can't ignore the system of production – the specialized skills involved, and the economic realities of the publishers and artists. It raises questions about what's considered ‘high’ versus ‘low’ art, challenging the boundaries. Consider how the labor of crafting each individual block impacted the distribution and visual impact of the artwork. Editor: So it's less about artistic genius and more about production. I’m interested in how this piece highlights the consumption of imagery. I’ll keep that in mind going forward. Thanks. Curator: Precisely, by examining the making and distribution we question elitist notions of art. Material and context over intention, right?