Gezicht op Ogea Driki before 1899

Editor: So, this gelatin silver print, “Gezicht op Ogea Driki,” is credited to Maximilian Agassiz before 1899. It reminds me of travelogues I’ve seen; there's something very documentary-like about it, though beautiful too. The stark contrast makes the rock formations stand out against the water. What's your take? Curator: The power of an image lies in its enduring echo, doesn’t it? Here, we have this rather imposing rock formation – an ancient, almost primordial, symbol standing starkly against the serene sea. Consider the title, essentially lost in translation from Dutch; do you think the colonial gaze inherent in naming this vista and then re-presenting it as ‘art’ impacts the cultural reading of this work? Editor: That's a good point. It definitely adds a layer. Does that influence how we see it today versus how it would have been received originally? Curator: Undoubtedly. The rock face might once have represented steadfastness and ancestral ties for the local peoples. What we witness through Agassiz’s lens – its silvered stillness - can you sense the translation? Or perhaps, the imposition of a new, external narrative, of exploration, domination and classification? The medium becomes the message, in that sense. What emotions does that realization evoke in you? Editor: I hadn’t considered the emotional impact. I mostly saw a picturesque view but thinking of the colonial context now makes me consider the photograph as more complex. It almost feels like… appropriation? Curator: Indeed. And perhaps in understanding this complexity we may reflect upon not only past dynamics, but current day continuities within artistic and social representation. The conversation between image and memory is continuous. Editor: That gives me a lot to think about! Thanks, that’s really interesting!