The Turkish Fort 1909

Editor: This is David Young Cameron's etching, "The Turkish Fort," from 1909, rendered on paper. It has such a stark, architectural feel; almost like a blueprint, but also undeniably artistic. What stands out to you about it? Curator: I see the production of this etching, and by extension the image of the fort itself, as bound to the colonial gaze of the early 20th century. Etching as a printmaking process allows for the mass production and circulation of images. The depicted architecture may signify military prowess or colonial power. How do you see that playing out here? Editor: I didn't really pick up on that! So, the availability of prints helped disseminate certain ideas about empire and conquest. Is there something about the material choice that speaks to this as well? Curator: Absolutely. Paper, though seemingly humble, becomes a vehicle. The relative ease with which an etching plate can be created and reproduced means the artist can respond rapidly to current events and circulate those interpretations widely. We also need to think about the role of labour here. The person who likely owned the etching, probably enjoyed the print through leisurely consumption. But how about the person who actually produced the work? It could be that the labor and time was entirely shouldered by the artist; however it could be an outsourced job for workshop assistants. Editor: So, we’re thinking about the paper itself as a sort of technology that enables distribution of ideas and possibly even reinforces colonial perspectives. It’s less about the fort as a subject and more about how the image comes to be through materials and labour. That's a whole new way to appreciate it. Curator: Precisely. The materials, process and how images circulate are as significant as the scene depicted in considering a piece like this. Now, consider this lens with other works you may encounter.