Dress Rehearsal #2 1934

Editor: Here we have James Van Der Zee's "Dress Rehearsal #2," created in 1934, a gelatin silver print. It feels almost theatrical, with the painted backdrop. What story do you think it's telling, viewed through a materialist lens? Curator: I’m drawn to the constructed nature of this photograph, both literally and figuratively. Van Der Zee was known for his commercial portrait studio. Notice the backdrop; it's a stage set. This wasn't documentary photography capturing a real event, but a constructed representation. Editor: So, it's about more than just documenting a moment. What’s important about that "staging?" Curator: Precisely. Consider the materials used: gelatin silver. The very choice of photography itself – a relatively accessible medium at the time – allowed for the wider dissemination of these images, offering a means for the Black community to represent themselves, controlling the means of production and challenging mainstream depictions. The staging gave the community a voice. The photographic materials, set design elements and the studio location must all be seen as conscious construction of visual identity. Editor: That makes sense. So the act of constructing this image becomes a statement in itself? Curator: Exactly! The labor involved, from the photographer to the subjects carefully posing and curating their appearance, highlights a desire for self-definition and agency. It wasn't just about taking a picture, it was about actively shaping a narrative, challenging the limited roles often afforded to African Americans in the 1930s. Editor: So, by focusing on the materials and the making of the photo, we can understand its cultural impact more deeply? Curator: Precisely. By analyzing the photograph through its production we move away from traditional art history views and towards an engagement with the picture's social life. Editor: That’s given me so much to think about! It’s not just the ‘what’ but the ‘how’ and ‘why’ of its creation. Thanks for opening my eyes.