New York 1987

Editor: This is Rosalind Solomon’s black and white photograph "New York" from 1987. The subject looks calm and collected at the piano. The composition appears very balanced, yet the choice of details like his socks, shorts and bare legs make me think this is a portrait of quiet desperation. What do you see in this photograph? Curator: From a formalist perspective, the photograph intrigues as an intricate interplay of contrasting tones and textures. The textures of the patterned rug, the man's dress shirt, the wooden floor, and his skin offer a wide array of contrasts, each surface reflecting and absorbing light in distinctive ways. Editor: I see what you mean, it is visually very interesting to track how my eyes move around this space following lights and shadows. Curator: The composition uses orthogonal lines – the edges of the piano, the wall and frame on the back - to give a clear sense of depth and structure to the scene, but there's a disruption created by the off-center subject and various other objects. What are your thoughts on this imbalance? Editor: That's a good point. The way the pianist is placed creates a subtle tension, like the photograph captures a brief moment of equilibrium that may soon transform. And how do you consider the other picture on the back? Curator: Yes, and note how that cloudscape resonates against the rigid lines within the room, establishing further duality, that further energizes the structural semiotics. Do you feel this reading is helpful? Editor: Absolutely! I will never unsee the network of interconnected planes of shapes! It feels like unlocking the visual potential in this picture, to better interpret its stillness and complexity. Curator: Indeed, the interplay of elements within Rosalind Solomon’s photograph transcends a mere representation, and approaches pure visual architecture.