Mt. Broderick in Distant Centre, Piroyac, Falling Chrystals, Vernal Fall 1861

Editor: Here we have Carleton Watkins' 1861 photograph, "Mt. Broderick in Distant Centre, Piroyac, Falling Chrystals, Vernal Fall." It's a really powerful landscape shot. What do you see in this piece? Curator: I see more than just a picturesque scene, I see a layered historical narrative. Watkins’ photographs, celebrated for their beauty, were also instrumental in shaping perceptions of the American West, leading to its exploitation through tourism and resource extraction. How does that sit with you? Editor: That’s a pretty loaded statement! I guess I hadn’t considered the potential downsides of promoting these landscapes. So, you're saying his art has political implications? Curator: Absolutely. His images fueled Manifest Destiny, creating a visual language that normalized the displacement of indigenous populations and the degradation of the environment in the name of progress. Note how he positions the viewer— we’re encouraged to see the landscape as something to be dominated, conquered, claimed. Do you notice the absence of native people in the landscape? Editor: That’s a really good point, actually. I was so caught up in the aesthetic beauty that I didn’t even think about whose land it was to begin with. Curator: Exactly. Photography isn't neutral, and understanding that is essential to engaging with these images critically. Consider the term "wilderness" itself, a cultural construct erasing centuries of indigenous stewardship. Editor: This really gives me a new perspective on landscape photography. Thanks, I will definitely carry this thought in my research! Curator: My pleasure. It's about recognizing the complex interplay between art, power, and representation, helping us become more conscientious viewers.