[Actress with downcast eyes], from the Actors and Actresses series (N145-8) issued by Duke Sons & Co. to promote Duke Cigarettes 1890 - 1895

Curator: Before us, we have "[Actress with downcast eyes]" dating from between 1890 and 1895, one of the "Actors and Actresses series" of prints created by W. Duke, Sons & Co. Editor: There's such a serene, almost melancholic mood to it. The way her eyes are cast down creates a sense of introspection, doesn't it? Curator: Indeed. And consider these cards: mass-produced albumen and gelatin-silver prints distributed to promote Duke Cigarettes. These images speak volumes about labor practices, consumer culture and the commodification of images. Editor: Speaking of images, look at the composition. The oval shape, the soft lighting... it's carefully arranged to focus on her face, creating an intimate experience for the viewer. Almost a symbolic encapsulation of a specific femininity. Curator: The choice of albumen and gelatin-silver prints highlights industrial-scale reproducibility. Consider the exploitation within the tobacco industry. How does the artistic rendering contrast the treatment of these unnamed performers? Editor: But we can also consider the material texture – the smooth sheen of the albumen print which would create a tangible appeal, encouraging repeated handling and therefore visibility for Duke’s brand, wouldn't it? Curator: And that is central to the project itself. To consider those aesthetic considerations separate from the object itself ignores the material conditions from which it emerged. Each of these women has now become the means to endorse nicotine. What choices did each person have? Editor: It's compelling how a single image can provoke such different interpretations, whether focused on the pure visuality and the experience or embedded material, economic, and social framework from which it spawned. Curator: It reinforces my awareness on the vital importance of historic context when looking at all materials that reflect our history. The labor, capital, even suffering—all congeal within an object. Editor: And for me, it emphasizes the inherent complexity of even the simplest image; and shows us that meaning can be generated not simply by content but structure, medium and surface.