Memento Mori

By Suzanne Révy and Elin Spring

Scientists have evidence that human beings have inhabited the earth for roughly 300,000 years. With rare exceptions, most have vanished without a trace until the invention of photography in 1839. The medium immediately flourished and photographic portraiture became common practice by the mid to late 19th century. During the Civil War, the magical processes of early photography offered hope to those whose sons were fighting far from home and comfort to the bereaved. In his solo exhibition Memento Mori, William Betcher breathes new life into the antique photographs that he has collected, probing historic and current ideas about mortality. On view at the Danforth Art Museum in Framingham, MA through May 24th, 2026. 

(Featured Image) “Untitled (detail)” by William Betcher, from the exhibition Memento Mori at the Danforth Art Museum. (Installation photography by Suzanne Révy)

“Untitled” by William Betcher, from the series Memento Mori, courtesy of the artist and the Danforth Art Museum, Framingham, MA

“Untitled (detail)” by William Betcher from the exhibition Memento Mori on view at the Danforth Art Museum. (Installation photograph by Suzanne Révy)

“Untitled” by William Betcher, from the exhibition Memento Mori, courtesy of the artist and the Danforth Art Museum.

“Untitled” by William Betcher, from the exhibition Mement Mori, courtesy of the artist and the Danforth Art Museum, Framingham, MA.

Memento Mori – a Latin phrase meaning “remember that you will die”- features William Betcher’s large-scale reproductions of antique Daguerreotypes, Ambrotypes and Tintypes. Removing them from their original 1860’s decorative metal casings, he reveals the patina of time, reframing and contextualizing their history. He then enlarges the diminutive prints into large transparencies, mounts them onto clear acrylic and installs them about two inches from the wall. The effect is outsized. Illuminated from above, each image casts shadows of the subject onto the wall behind them, creating changeable double visions as the viewer alters their position and viewpoint. The ghostlike shadows recall 19th century “spirit photography” while the larger-than-life likenesses stir deep emotions and raise a number of questions about their lives. Who were they, and how did they live? Foreshadowing their own death haunts the anonymous sitters in Betcher’s collection, and yet the faces with their piercing eyes or tentative stances are strikingly present. 

“Untitled” by William Betcher, from the exhibition Memento Mori, courtesy of the artist and the Danforth Art Museum, Framingham, MA

Contemporary Tintypes and Ambrotypes by William Betcher from the exhibition Memento Mori at the Danforth Art Museum, Framingham, MA. (Installation photogrpaph by Suzanne Révy)

In a sort of reverse engineering, Betcher has also created his own series of framed “antique” 4”x 5” wet plate collodion tintypes utilizing macro photographs of damaged vintage toy soldiers and dolls he has collected over many years. Each image is mounted in an ornate 19th century hinged case that recalls the practice of encasing images of loved ones. These pictures, however, are surreal and disquieting. Objects such as a broken doll’s head, a screaming toy soldier and a shattered skeleton create internal dissonance with the rich tones of the images and the opulent fabric of their cases. With his invented antique images, he contrasts traditional, venerating Civil War era images with more contemporary, honest and excruciating emotions associated with grieving and memories. Each of Betcher’s unique series in this exhibit invite us to reconsider the ways we view mortality in mind-expanding ways.

Look for the third of our three reviews of current Danforth Art shows next week when we review the exhibition of the collective Memory is a Verb.

For more information: https://danforth.framingham.edu

“Untitled” by William Betcher from the exhibition Memento Mori, courtesy of the artist and the Danforth Art Museum, Framingham, MA.