Merced River, Yosemite 1870 - 1874

Curator: Here we have Carleton Watkins's "Merced River, Yosemite," taken between 1870 and 1874. This gelatin-silver print is part of the Metropolitan Museum of Art's collection. Editor: Immediately striking is the stillness. The mirrored reflection in the water creates a perfect symmetrical balance. The tonal range of the photograph is quite limited. Curator: Watkins’s photographs were instrumental in convincing Congress to protect Yosemite as a national park, underscoring photography's power as a tool for environmental activism and its connection to land preservation discourse. The work is undeniably tied to American expansionism. Editor: The near-perfect vertical lines of the tall trees on either bank of the river function as framing devices, leading the eye deep into the composition. There’s also an interesting textural juxtaposition between the rugged foliage and the serene river surface. Curator: Think about how Watkins’s landscape photography emerged during a period of westward expansion and settler colonialism. Watkins sold his photographs, images that would invite wealthy individuals to take tours, furthering exploitation. This resonates differently today as we reflect on environmental policies and indigenous rights. Editor: Absolutely, and technically, this shot demanded great skill; imagine carrying cumbersome equipment through the Yosemite wilderness. The meticulous framing, the patience to capture such stillness in the water. Curator: And also we can note how the Hudson River School of painting romanticized nature, which, through that lens, obfuscated very real ecological destruction, resource exploitation, and the displacement of indigenous peoples. Watkins was influenced by those aesthetics. Editor: A point well taken, as there is undeniable idealization present. But in pure compositional terms, Watkins has presented us with almost a tripartite division, the rough bank on the lower left balancing against the trees, bisected by the river. Curator: By viewing it through contemporary theories of environmental justice, we understand that what appears to be an untamed landscape is actually a contested site—a reflection on our collective responsibility. Editor: It serves as a powerful reminder of how visual analysis deepens our understanding and prompts us to ask more pointed questions about not just art, but the narratives surrounding it. Curator: Exactly, thinking critically about the images, especially in the context of historical events and philosophical shifts is crucial for us.