Laan met Japanse sierkersen in Uenopark in Tokyo, Japan before 1897

Art Historian: Hello, there. Editor: Hi! I’m really drawn to this piece, it’s entitled “Laan met Japanse sierkersen in Uenopark in Tokyo, Japan” (Lane with Japanese Cherry Trees in Ueno Park in Tokyo, Japan) by Kazumasa Ogawa. It was made sometime before 1897, and is an albumen print. It's gorgeous. How would you interpret this photograph? Art Historian: Looking at this albumen print, my attention is drawn to the materials used and the process itself. Albumen prints were incredibly popular, representing a certain commodification of imagery. Who was commissioning these images? And what audience were they catering to? It speaks volumes about consumption and desire, wouldn’t you agree? Editor: I do see what you mean. So, you're not necessarily focused on the image of cherry blossoms but more on the production of it, the…who, how, why. It being made specifically as an albumen print influences your perspective. Art Historian: Precisely. Think about the labor involved in creating this. The photographer, of course, but also those involved in preparing the albumen paper, the darkroom technicians...It highlights the means of production and challenges traditional ideas about artistry. Also consider its social context and impact. How would you say this image functioned in promoting or maybe misrepresenting Japanese culture? Editor: Hmmm. It’s easy to just see the beauty, but I get that we should ask questions. Maybe it exoticized Japan, or even oversimplified the culture. Art Historian: Exactly! And even influenced the economy in some way, given its role in tourism! Editor: It really changes my view, to consider all the context around how an image is created, its materials, who made it, and how it circulated. It definitely provides a broader picture. Thank you for that, It makes the whole piece even richer!