Jeanne 1912

Editor: Here we have Morton Schamberg's photograph, "Jeanne," from 1912, on display at The Met. The monochrome and the pose give it an old-fashioned, almost wistful quality. What strikes you about this image? Curator: The subject matter appears as a typical portrait of the time, but its means of production marks it firmly as Modern. I’m curious about the materials and processes involved in photography during this period. Can you imagine the studio setup, the length of the exposure, the chemical processes in the darkroom? These things dictate the finished product. Editor: That's fascinating! So, rather than just seeing the image as a depiction of a girl, we should also consider how the constraints and possibilities of early 20th-century photographic technology shaped it? Curator: Precisely! Look at the soft focus, almost like Impressionist painting, a very trendy style back then! It wasn’t just a stylistic choice, it could have been limited by the equipment of the time. How did Schamberg’s economic status shape access to this new tech? Was the sitter affluent, allowing Schamberg this practice and process? Editor: It almost makes me want to handle the photograph and study the texture. Curator: And consider the labor involved, too. From the manufacturing of the photographic plates to Schamberg’s work in the darkroom, even the staging for the girl in a fine dress and the furniture are indications of labor. It reveals a complex web of material production and social relationships that are critical to the final “art” product. Editor: I never considered those things when looking at portrait photography before. I'm left thinking about how consumerism, material culture and wealth are intertwined with this photo. Curator: Exactly, that's what a materialist perspective encourages: thinking critically about what the making reveals about our human experience.