November 18, 2019
Today wet-plate collodion photography is, unsurprisingly, scarce, enabling the materialization of Wilson’s three figures in PNGB to serve as a bait-and-switch: their initial perceived age soon deteriorates into their present reality. Unlike in Curtis’s images, each subject has chosen their own pose and clothing, has written their own caption, and has been gifted the aluminum plate — the reproductions we see in the YUAG exhibition are archival pigment prints from a high-resolution scan of the original, on loan from the Beinecke. The photographic exchange is literal, as is Wilson’s reinscription of Indigenous culture, both shifting the seat of influence towards equality.