Leroy Jenkins and Sirone, Revolutionary Ensemble, New York City Possibly 1972 - 1982

Editor: Here we have Larry Fink's "Leroy Jenkins and Sirone, Revolutionary Ensemble, New York City," a photograph taken sometime between 1972 and 1982. It’s stark and intimate at the same time. What do you see in this piece beyond just two musicians? Curator: I see a visual articulation of Black artistry in the 70s, deeply rooted in the social and political context of the time. The Revolutionary Ensemble wasn’t just a jazz group; they were sonic activists. How do you think Fink's choice of black and white photography contributes to this reading? Editor: It almost feels like it strips away the superficial, focusing on the essence of their craft and their presence. There's an austerity, maybe even a sense of struggle. Curator: Precisely. And the fact that they are in what appears to be a domestic space is crucial. It resists the commercialization of Black music, highlighting the roots of their creativity within their own community and lived experience. Fink isn't just documenting a performance; he’s capturing the intimacy and intensity of their artistic process. Consider the gazes: where are they directed, and what does that say about their relationship to their art and to the world? Editor: One is looking directly at the viewer, which feels confrontational, while the other is focused intently on his instrument. It’s like a conversation between the personal and the political. Curator: Absolutely. And their very existence as a Black avant-garde group challenged the established racial hierarchy of the art world. This photograph then becomes a document of resistance and a celebration of Black artistic innovation. What strikes you most now, after considering these ideas? Editor: It’s not just a picture of two musicians; it’s a powerful statement about identity, creativity, and resilience. It feels heavier now. Curator: Indeed. Art can be so much more when viewed through the lens of history and social justice.