Plate Number 99. Turning and ascending stairs 1887

Editor: This is "Plate Number 99. Turning and ascending stairs," a gelatin silver print from 1887 by Eadweard Muybridge. I'm struck by how this pre-cinematic study captures movement. It's almost scientific, but with a hint of classical sculpture. What do you see in this piece? Curator: What immediately strikes me is how this image exists at the intersection of science, art, and societal anxieties about the body and representation. Muybridge's work was groundbreaking in its scientific methodology. It allowed for detailed analysis of human movement, previously unseen. But it's essential to acknowledge the socio-political context: these images were created during a period when the scientific study of the human body was often intertwined with problematic ideas about race, gender, and class. Do you think that impacts our view of the images? Editor: That’s a powerful point. I hadn’t considered the darker side of scientific advancement at that time. It's a bit unsettling now. Curator: Exactly. And let's think about the museum's role in exhibiting this work today. By framing it as art, do we inadvertently sanitize the complex history and potential ethical issues related to its creation? It's crucial that museums contextualize these images responsibly. They need to actively acknowledge and discuss the history behind them, and make sure to explore different perspectives in doing so. Editor: So, understanding this piece is more than just appreciating the innovation; it’s about grappling with the complicated history behind it. Curator: Precisely. Thinking about the societal implications transforms how we interpret not just the photograph, but the whole structure surrounding its production and display. It encourages critical thought beyond what meets the eye. Editor: That definitely gives me a lot to consider, thank you.