Zuidelijk toegangsportaal van de Kathedraal van Straatsburg 1877

Editor: Here we have Sophus Williams’s 1877 photographic print, “Zuidelijk toegangsportaal van de Kathedraal van Straatsburg," depicting the south entrance of the Strasbourg Cathedral. It has an impressive scale. What aspects of the artwork do you find particularly striking? Curator: I’m drawn to the interplay between the seemingly monumental architecture and the photograph itself as a commodity. Consider the labor involved – the quarrying and carving of the stone versus the photographic processes: the chemical development, the printing, the eventual distribution as a commercial item for tourists. It raises questions about the commodification of architectural grandeur and the democratization of art through accessible, reproducible mediums. What do you think? Editor: I see what you mean. It's like the photograph makes this massive cathedral almost pocket-sized, available for anyone to own. It flattens the experience in a way. Curator: Precisely! And consider the social context: the late 19th century and the rise of mass culture. Photography facilitated the spread of images, shaping perceptions of architectural and cultural landmarks. It turns the cathedral, a symbol of faith and civic pride, into a saleable artifact. Editor: So it is more than just documentation; it participates in a system of production and consumption. Is that fair to say? Curator: Yes, the image is documenting, but at the same time becoming a small part of this mass system for capturing experiences that are later consumed. That's what this image reveals to me. Editor: I had not thought of that. I am now wondering about what that implies regarding mass consumption versus personal connection. Thanks! Curator: You're welcome! It’s always interesting to explore those contradictions and complexities within the materiality of the artwork itself.