Mars, 28 december 1976 Possibly 1976

Editor: So, this is "Mars, 28 december 1976," a photograph, likely from 1976, by Cary Markerink. It seems to document a protest, and it gives off a very raw, immediate feeling. What do you see in this work? Curator: This photograph, I think, powerfully captures the Indigenous struggle for land rights, quite possibly in the Americas given the context of Markerink's work and the date. What stands out is the visual language of resistance – the signs, the march itself – which is claiming space and visibility. How do you think Markerink, as a photographer, engages with these issues of representation and power dynamics? Editor: I guess I hadn’t really thought about the photographer’s role. It feels… almost intrusive to think of it as *art*, when it depicts such a direct action. Curator: Exactly. And that tension is crucial. Postcolonial photography often grapples with the gaze – who is looking, who is being seen, and what power relations are at play. The choice to shoot in black and white adds another layer, historicizing the event, perhaps connecting it to a longer lineage of Indigenous resistance. What effect do you think that has? Editor: It makes it feel timeless, like it could be happening now, or a hundred years ago. It’s interesting to consider how the aesthetic choices amplify the message and the continuous nature of the struggle. I hadn’t considered those layers of meaning. Curator: Precisely. Markerink's photograph invites us to critically examine the ways in which images participate in shaping our understanding of social justice movements, the colonial history behind them, and our responsibility to these narratives. Editor: I’ll definitely look at similar photographs differently now, considering both the message and the photographer’s position. Thanks!