Untitled (Three seated men) c. 1960s

Editor: This is an "Untitled (Three seated men)" photograph from around the 1960s, photographer unknown. The tones create a somber yet confident feel to it, perhaps even self-assured. I'm struck by the strong symmetry within the poses; legs crossed or arms draped that creates a single visual plane, yet, how should we consider such an ordinary moment? What do you see here? Curator: Considering this image, the immediate and insistent elements are clearly geometric, almost severe: three near-identical chairs arranged in a strict row; the sitters conforming with almost geometric precision; suits sharply pressed to create parallelograms on the men's bodies. What tension, then, exists between the photograph's sharp and rigid geometry and what is implied in this image's broader scope? Editor: That’s interesting, I hadn’t thought of it that way. The formal structure is definitely very present and maybe even overpowers any initial thoughts I had regarding narrative. But isn't narrative derived as well from form and arrangement? Curator: Precisely. Note, for example, the sharp diagonals of the chairs – how do those disrupt, or interact with, the figures’ placement? Similarly, observe the men's postures - are they entirely the same? How does one figure challenge the uniformity established by the others? Editor: Ah, so you're saying it’s about finding nuance within a pre-existing rigid structure? It's as if the symmetry is challenged from within, ever so subtly. I might want to observe a scene like this again with renewed interest in structure. Curator: Correct, and keep this in mind going forward; observe, for instance, how such tension animates art’s greatest masterpieces. This sort of formal assessment becomes its own skill.