Exterieur van de kathedraal te Palermo en het standbeeld van Rosalia van Palermo, Italië 1851 - 1900

Editor: This gelatin-silver print, "Exterior of the Cathedral in Palermo and the statue of Rosalia of Palermo, Italy," is quite striking despite its muted tones. It appears to be from sometime between 1851 and 1900, with the photographer listed as anonymous. What do you see as key aspects of this image? Curator: Looking at this print, I'm drawn to how the gelatin-silver process itself impacts our understanding. The soft, almost ethereal quality flattens the space, minimizing the texture of the stone. Consider the labour involved in both the quarrying of the stone and the intricate printing process. Where did that stone come from? Who developed this photo and where were the materials manufactured? This image presents us with not just a scene but also the cumulative impact of production, and global exchange of materials required to document that scene. Editor: That's a really interesting way to think about it! It moves beyond just the aesthetic value and acknowledges the labor and resources. Curator: Exactly. Also notice the strategic choice to place Rosalia's statue alongside the Cathedral. This directs our attention towards the materiality of both, emphasizing their construction and signifying human intervention on landscape as expressions of devotion and control. What's highlighted through its very making and photographic interpretation is power of the church. Editor: I see that. Thinking about the print as a material object adds so many layers. Curator: It compels us to confront not only aesthetic value but also economic and social significance intertwined in its creation. In what ways is this labour absent from typical art history considerations? Editor: I will have to rethink my assumptions of what makes something art. Thanks. Curator: Indeed, and this is precisely where art begins for me, in asking, investigating and questioning how and why artworks come into existence.