Artillery, Quartermaster Sergeant 1866

Editor: Here we have Oliver H. Willard's "Artillery, Quartermaster Sergeant," an albumen print from 1866. It feels very formal, very posed, but there's also something unsettling about his turned back, especially considering it was taken right after the Civil War. What strikes you most about this piece? Curator: What grabs my attention is how this image, seemingly a simple portrait, speaks volumes about power, identity, and the aftermath of conflict. Photography, at this time, was becoming more accessible, yet portraiture remained a privilege, a visual marker of status. How does seeing the *back* of a soldier disrupt conventional heroic narratives of the time, narratives that were so often carefully constructed and deployed? Editor: I see what you mean. The red sash and stripes seem intended to convey rank, but facing away almost subverts that, as though we’re not worthy to see his face. Curator: Precisely. Think about who this photograph was *for*. Was it a personal memento, a familial keepsake? Or was it part of a broader project of documenting the Union Army, shaping a particular narrative of victory and authority? It raises questions about the photographic gaze, and who controls the story being told. Consider, too, how notions of masculinity are constructed in this image, with its emphasis on military bearing, but simultaneously withholding the soldier's gaze, denying us that direct connection. How do we reconcile those opposing messages? Editor: It's interesting to think about this as more than just a straightforward portrait. I didn't consider the layers of identity and power dynamics at play. It makes the image far more complex and thought-provoking. Curator: Exactly! This photo is an entry point to discussing broader social and political climates following the Civil War. Now that you notice the use of propaganda and narrative control in visual arts, this skillset can apply to everything.