Venice_ The Bridge of Sighs c. 1865

Editor: This is Carlo Naya's "Venice, The Bridge of Sighs," dating back to around 1865. It's an albumen print mounted on cardboard. There's a starkness to it, an almost industrial feel amidst the implied beauty of Venice. What draws your eye to this piece? Curator: What I notice is the albumen print itself, how that specific process was deployed and its cultural weight in mid-19th century tourism. It offered a tangible, reproducible, and arguably affordable way for individuals to "possess" Venice. Consider the labor involved: from preparing the glass plate to the developing and printing process and, in turn, think of who *didn't* have access to such practices or the final product. It’s crucial to consider these social dynamics of material production and consumption. Editor: So, beyond the depiction of Venice, the photograph as an object holds significant meaning? Curator: Precisely. Naya wasn’t simply documenting Venice; he was participating in a complex network of commerce and cultural exchange. The photograph is a commodity, designed for a specific market. We can examine how materials, such as the albumen and cardboard, reflect broader systems of production and trade and how these materials determined, for example, longevity of image or distribution opportunities for its consumers. What were these images really worth, and what was the embodied labour? Editor: That shifts my perspective entirely. I hadn't considered the photograph's own materiality as being so crucial. Curator: This material reality offers crucial insights into the culture surrounding Venetian imagery during that period. By focusing on production, distribution, and access, we gain a richer understanding than simply admiring the scenery. What do we lose and what do we gain? Editor: Definitely something to consider. I will be sure to consider all materials used for producing artworks during my visits to museums. Thanks so much!