The Ferry c. 20th century

Curator: Here we have "The Ferry" by Mary Devens, a gelatin silver print believed to be from around the turn of the 20th century, residing here at the Minneapolis Institute of Art. Editor: My first thought is how dreamlike it seems. The soft focus and the monochromatic palette lend it an ethereal, almost ghostly quality. Curator: That softness is very characteristic of pictorialism, the photographic movement Devens was associated with. Pictorialists aimed to elevate photography to the level of fine art by manipulating the image, mimicking the effects of painting or drawing. It’s worth noting that movements like these sought to be recognised by established institutions of the time. Editor: Absolutely. I think understanding the context of pictorialism is key here. It emerged at a time when photography was fighting for legitimacy as art. This image, with its hazy atmosphere and focus on composition, seems to be actively trying to distance itself from the purely documentary function of photography. Are they succeeding? What narratives about work, identity, class and art did they leave out to be seen as successful at the time? Curator: What interests me about this scene is its seeming universality; despite being created in the United States, the imagery could depict almost any waterside city around the globe. How did turn-of-the-century America understand the rest of the world? Did their cosmopolitan ideal have underlying motivations? It’s a quiet, almost contemplative scene, captured just at a moment of great cultural shift. Editor: I agree, there’s something serene about the composition. I keep thinking about the figures in the boat. The soft focus blurs the details, obscuring their identities. How do they relate to this world being built? Curator: Thinking about Devens herself is equally fascinating. Her access to cameras and education suggests a particular social position. Whose stories did her lens capture? What remained invisible? Editor: Food for thought! It is useful to situate any artwork in a broader historical narrative. Hopefully we’ve sparked some curiosity, urging viewers to engage critically with Devens' work and the era it represents. Curator: Indeed. "The Ferry," I think, serves as a great launching point to further discuss issues in early photography, and consider who was, and wasn’t, allowed access to artistic platforms.