Untitled (Portrait of a Man with Hat and Pipe) 1853

Editor: This is an 1853 daguerreotype, “Untitled (Portrait of a Man with Hat and Pipe),” displayed at the Art Institute of Chicago, but attributed to an anonymous artist. It's incredibly detailed for such an early photograph. What stands out to you? Curator: It's more than just detail, isn't it? It’s about how this "anonymous" man chooses to present himself. Think about the labor involved in creating a daguerreotype then. The sitter held still for what? Fifteen minutes? He consciously participates in constructing a certain kind of American identity. A man of burgeoning industry and seriousness. The hat, the pipe… What narratives do these items evoke? Editor: I hadn't thought about the conscious participation that the man would be involved in, it really changes my perception of this. I was stuck thinking that this was purely a matter of representation, when it also has that element of control involved in it. I was really curious on whether you thought that the decision of calling this "Untitled" has a commentary on representation as well? Curator: Absolutely. "Untitled" immediately thrusts us into thinking about agency, about how we often erase individual stories and lives in the sweeping narratives of history. Is this erasure a deliberate act, or merely a reflection of societal neglect toward certain groups and individuals? Who gets remembered, and on whose terms? The question is posed as to how photography and portraits contribute to solidifying social roles, expectations, and even prejudices. Editor: That is so interesting, thinking about whose stories get remembered. Now, reflecting, this portrait isn’t simply a face from the past but an active statement about identity, participation, and representation. Curator: Precisely! And about the gaps in whose stories we actively know and remember.