Vont met wijwater in de San Marco in Venetië before 1885

Curator: The title translates to 'Font with Holy Water in San Marco, Venice,' a gelatin silver print, created before 1885, attributed to Carl Heinrich Jacobi. The image possesses a stillness that invites contemplation. What stands out to you? Editor: Well, besides the fact that the object photographed is meant to hold holy water, its architecture strikes me first. I notice its imposing, ornate stonework. It really dominates the composition, despite the photographer's inclusion of the surrounding architectural detail. What do you see in it? Curator: I'm immediately drawn to its social and historical context. Consider Venice in the late 19th century, a city steeped in tradition, and also grappling with modernity. Photography itself was a relatively new medium then. What statement might Jacobi be making by documenting this sacred object, this intersection of faith and artistry, through this modern lens? Editor: That's a great point. I hadn’t considered the novelty of photography itself as part of the message. Is the artist intentionally contrasting the traditional with the new? Curator: Exactly! And consider the performative nature of religion, particularly Catholicism, and the power imbued in objects like these fonts. The act of photographing it, displaying it for public consumption, detaches it from its ritualistic purpose, doesn't it? Editor: Absolutely. It encourages a secular gaze upon something sacred. The question then becomes, who is this photograph for? Who has access? Curator: Precisely. Thinking about who controls the narrative – who is represented, and who is doing the representing - is essential to unpacking this photograph's place within art history and beyond. It invites us to think critically about representation, access, and power. Editor: Thank you; I never considered the power dynamics inherent in photographing sacred objects, particularly from that historical vantage point. I'll definitely carry that forward.