
This photograph of Parliament Hill and its Centre Pavilion in the 1950s is juxtaposed against the present-day landscape. Courtesy: Dear Photograph.
By Kaitlin Wainwright
At December’s public consultations on the new Museum of Canadian History, Sean Kheraj, an assistant professor of history at York University, made a comment that stuck with me: by commemorating moments in history we actually learn as much about our present as our past. In trying to see the past through a contemporary lens, we blur history with nostalgia. Situating the past in a present context gives new meaning to both, and a greater understanding of not only how the built and social environments once were, but also what they’ve become.
The American literary icon Susan Sontag noted that “Photographs turn the past into an object of tender regard, scrambling moral distinctions and disarming historical judgments by the generalized pathos of looking at time past.”[i] Over the past year and a half, several online projects that juxtapose or integrate archival images with contemporary ones have taken root. The act of creating and viewing these photographs is inherently tied to the making and remaking of place. The act of associating an archival photograph with memory or with its present-day counterpart changes how we see place. Our memory, working with the photograph, creates a link between the past and the present. Dear Photograph is one such online project that seeks to bridge the gap between past and present, and in doing so, remakes our emotional geography. Continue reading