Untitled c. 1911

Editor: This gelatin silver print, "Untitled," made around 1911 by Spooner & Wells, presents a rather grand car. I’m immediately struck by the high contrast and almost obsessive detail on the wheels and the carriage windows. What can you tell me about it? Curator: Well, I see more than just a photograph of a car. I see an object that embodies industrial processes and material culture of the early 20th century. The gelatin silver print, a relatively new technology at the time, allowed for mass production and dissemination of images. Consider the car itself—steel, glass, rubber. How were these materials sourced, manufactured, and consumed? Editor: So you’re saying this isn’t just art; it’s a document of industry and consumerism? Curator: Precisely. This photograph is advertising, pure and simple, aiming to sell a luxury product. The choice of gelatin silver, a medium that creates sharp details and smooth tonal gradations, enhances the car's appeal. Think about the labor involved. Who made this photograph, who manufactured the materials, and who assembled the car? Each contributes to the bigger picture of production and value. Editor: That's interesting. I hadn't considered the photograph as part of the production process. Curator: Photography played a vital role in selling both objects and lifestyles during this period. This wasn't simply capturing reality; it was constructing desire. This medium flattens out labour into a pristine finished item of value, further alienating maker from the consumer. Editor: I never thought about how something like a car photo could be connected to all that. Curator: These objects contain multiple stories, all about labor, distribution, the source of material, social influence and so forth. By engaging more directly with the way value is both determined, we open our critical capacity to see how value, now, functions through multiple kinds of distribution systems. Editor: Thanks for pointing that out. It definitely gives me a fresh perspective.