Elevation 

Curator: This is "Elevation," an engraving by Giovanni Battista Piranesi. What strikes you most about it? Editor: Well, it's architectural, but it feels almost…fantastical. It seems like a very precise rendering, maybe a little cold with the stark lines, but something about the ruined look gives it a strange, haunting atmosphere. What do you see in this piece? Curator: I see a critique of power embedded in the representation of architecture. Piranesi wasn't just documenting Roman structures; he was engaging in a visual discourse about empire, decay, and the legacy of oppression. Notice how the aqueduct's structure dominates the landscape, yet it's shown in a state of partial ruin. What does that juxtaposition suggest to you? Editor: Maybe that even the most imposing structures, symbols of power, are ultimately impermanent. But it seems that they were initially perfect in some ways and, although in ruin, remain. How does that play into your view? Curator: Precisely. Piranesi uses this tension to question the narratives of progress and civilization that were prevalent during the Enlightenment. He's subtly challenging the idea that progress is linear, pointing to the cyclical nature of history where even the most advanced societies crumble, and where only perfection stands the test of time. Who benefits from that narrative of constant growth and rebuilding? And who is erased in the process? Editor: So, he’s using architecture to comment on societal power structures and challenge dominant historical narratives? I wouldn’t have expected that! It does change the way I look at this print. Curator: Exactly! This shifts our understanding from mere aesthetics to engaging with a visual argument about the complexities of history, power, and social change. Now you see!