Self Portrait 1839

Editor: This is George Hewitt Cushman's "Self Portrait," a daguerreotype from 1839. I'm struck by the way the photographic process itself contributes to the romantic, almost ethereal quality. What catches your eye when you look at it? Curator: I am interested in the daguerreotype as an object, a physical artifact shaped by the conditions of its production. Think about the materials: a silver-plated copper sheet, polished to a mirror finish, then sensitized with iodine fumes. Cushman, in making this, was engaging with a highly specific set of industrial and chemical processes. How does understanding that labour change our perception? Editor: That's fascinating! I hadn't considered the labor involved in creating the image itself, more the artistic choice behind it. The act of polishing and preparing the plate adds another layer of meaning. Curator: Precisely! It bridges the gap between "high art" and what we might consider "craft" or even industrial production. The silver, the chemicals—where did they come from? What was the social context of their extraction and distribution? These material realities shaped even the most seemingly personal self-portrait. Do you see how the act of taking this portrait, becomes a study of materiality? Editor: Absolutely, viewing the art this way helps to look at a photo beyond a fleeting snapshot! I wonder if Cushman was aware of how much materiality played a part? Curator: Perhaps. Even if not consciously, he was participating in, and contributing to, those material networks. Looking at art through this lens allows us to see the complex relationships between art, labor, and consumption. Editor: That is insightful. Thanks to you, I can appreciate the historical and societal background involved in even a self-portrait. Curator: My pleasure! It’s crucial to acknowledge those material conditions shaping the world around us, and art serves as a wonderful medium through which to observe it.