The Arch of Titus, 1855 1855

Editor: This is Robert MacPherson's photograph, "The Arch of Titus, 1855," a silver print of a relief. It’s quite striking, almost melancholic with its sepia tones. What do you see in this piece, beyond just a historical document? Curator: Well, on the surface, it seems like a straightforward representation. But let's consider the Arch of Titus itself, built to commemorate the Roman victory in the Jewish War. MacPherson, photographing it in 1855, does more than record an image, he participates in a much larger narrative. Editor: A narrative of… power and conquest? Curator: Exactly. Consider what's depicted on that relief. Roman soldiers parade the spoils of war, most prominently the Menorah from the Jewish Temple. MacPherson's act of photographing, reproduces and circulates the Roman's vision of dominance. Photography here becomes complicit in perpetuating a particular worldview. How might we view this differently? Editor: Perhaps focusing on the Menorah as a symbol of resilience, not defeat? Recognizing it as a sacred object taken during conflict. Curator: Precisely! We must recognize that MacPherson's image, while seemingly objective, is loaded with historical weight and cultural bias. It forces us to reflect on the politics embedded in representation itself. Even, and perhaps especially in the documentary image. What is he choosing to show us, and why? Editor: So it's not just about what's in the frame, but the act of framing itself? And how the reproduction itself plays into the original violence. Curator: Absolutely. By grappling with these issues, we can approach such historical documents with critical awareness. It forces us to acknowledge the ongoing reverberations of the past. Editor: That gives me a lot to think about regarding the ethics of photographing historical artifacts and how easily it reinforces unequal power dynamics.