Plate Number 90. Ascending stairs 1887

Editor: Here we have Eadweard Muybridge's "Plate Number 90. Ascending stairs," a gelatin silver print created in 1887. The man's movement, broken down into these stark, sequential images, feels so scientific and detached, almost dehumanizing. How do you interpret this work? Curator: I see this piece as a fascinating intersection of art, science, and the sociopolitical context of its time. Think about the late 19th century: scientific advancements were being used, often problematically, to classify and categorize people based on race and gender. Muybridge’s motion studies, initially designed to analyze human and animal movement, become complex when you consider whose bodies are being studied and for what purposes. What does it mean to dissect the male nude in this way? Editor: So, you're saying there's a potential power dynamic at play? Curator: Absolutely. Who is being observed, and who is doing the observing? Consider how this kind of detailed analysis could reinforce existing societal biases or create new ones. Were these images intended simply for scientific inquiry, or could they be used to promote certain ideologies about the human form and its capabilities? What’s your take on this layering of intentions and perceptions? Editor: I hadn’t thought of it that way. The clinical nature of the photographs does seem to erase the individual, turning the subject into just an object of study. I now see how this can be interpreted within a framework of identity and control. Curator: Precisely! And by engaging critically with historical works like this, we can start conversations about how power and representation intersect, informing our understanding of both historical and contemporary art. It makes us question not just what we see, but why we see it, and who benefits from that vision. Editor: That’s given me a completely new perspective. Thank you for unpacking all of that! Curator: My pleasure! It’s these layered discussions that truly bring historical works to life.