Andernach am Rhein 

Editor: This is a pencil drawing called "Andernach am Rhein," located at the Städel Museum. It gives such a delicate rendering of the town. The details, despite being rendered only in pencil, feel very realistic. How do you interpret this work, thinking about its context? Curator: What I see is not just a picturesque scene, but a visual record of power structures and societal hierarchies embedded within the landscape. The imposing architecture—the towers, the church—these aren't neutral elements. They historically represent religious and political authority, shaping the lives of those living within and around Andernach. Consider how this imagery might uphold or challenge conventional power dynamics of the time. What might the absence of certain populations or perspectives tell us? Editor: That's interesting. I was mainly focused on the visual qualities, the style of realism... but thinking about who is being represented and who is not. It encourages new interpretations. Curator: Precisely! The seeming neutrality of Realism is itself a constructed position. Artworks reflect not just what is seen, but also the socio-political forces operating during the creative process, inviting viewers to question, analyze, and actively engage with the artwork. In examining such works, can we not find voices that resonate, perhaps challenge, dominant ideologies? Editor: I hadn't really considered the idea that a seemingly neutral landscape could be making such strong assertions about power. This has completely changed how I look at art! Curator: And that's precisely the point, isn’t it? Art should provoke conversations, re-evaluations, even discomfort. It is in the act of engaging with art that we can unpack those ideologies that determine society.