Leaving Leninakan 1965

Editor: So, this is "Leaving Leninakan," an oil painting by Mariam Aslamazian, created in 1965. There's such a weight in her gaze, and the buildings behind her almost seem to press in, adding to the feeling of... displacement, maybe? What do you see in this piece? Curator: Displacement is key here, absolutely. The shawl wrapped tightly, framing her face… it's a visual echo of burial shrouds. It confines her, almost as if she's already a ghost within this townscape. Notice how the earth tones blend the woman with the buildings – what do you think that implies? Editor: Maybe she is inseparable from Leninakan...her identity is bound to the place. And the other people are much smaller in the distance; maybe it suggests a breakdown of community? Curator: Precisely! Consider, too, how Leninakan was rebuilt after devastating earthquakes. Aslamazian, painting in 1965, captures that tension. Does the woman represent enduring strength or inconsolable loss in the rebuilding process? What stories might she hold, being inseparable from this cultural and architectural setting? Editor: That's powerful! I hadn't considered the earthquake connection and the rebuilding... It completely shifts how I view her expression. It’s not just sadness, but resilience too. Curator: These recurring images allow us to delve deep, and explore those universal struggles that span cultures and centuries. These visual symbols serve as bridges that span personal pain to common cultural experiences. Editor: I never thought about portraits in connection to that scale of historical events before. It gives social realism so much more depth. Curator: Yes! By learning more about recurring and historical symbols and metaphors in art we are opening doors into memories to inform us and reflect our lived experiences. Thank you. Editor: Thank you too. I feel I will have so much more to observe and contemplate next time I see something like this.