(Wedding Procession) c. mid 19th century

Editor: Here we have Utagawa Hiroshige’s “Wedding Procession,” a woodblock print from the mid-19th century. It depicts a vibrant procession, and what strikes me is how much work and how many people were involved. How do you interpret this piece? Curator: Let's think about the labor involved in its creation and context. Woodblock prints like this were part of a complex production system. There's the artist who designs the image, but also the wood carvers who translate that design onto blocks, and the printers who meticulously apply ink and paper. Consider, too, the social context. Editor: That’s really interesting, all of that human input into making one print. Does the materiality itself affect our understanding? Curator: Absolutely. The choice of wood, the types of inks used, the quality of the paper – these weren’t arbitrary decisions. Were certain materials more costly or more available? What does this suggest about the target audience for such prints and about the economics surrounding its production? Editor: It’s almost like uncovering a whole network through the print itself. Like understanding the supply chains. I guess what I’m thinking about is this isn't just "art," but a record of labor, materials, and even the beginnings of a consumer culture. Curator: Precisely. And how that impacts not just what art *is* but who it’s *for*. What have you discovered by considering its making, distribution, and use? Editor: Thinking about it, I initially just saw a beautiful artwork, but understanding the materials, the hands that made it, and who had access to it… that has made me rethink my definition of art in general. Curator: Indeed, seeing art through the lens of material and social production really does alter our understanding of both art and society.