Moses Wloski, Born 1921, Wolkowisk, White Russia 1994

Curator: This arresting black and white photograph, created in 1994, is titled "Moses Wloski, Born 1921, Wolkowisk, White Russia" by Jeffrey Wolin. Editor: Wow. It's immediately impactful, isn't it? Stark. That close-up—you're right there with him. The darkness really emphasizes the weight in his gaze. Curator: It’s a portrait imbued with narrative. Wolin’s integration of text as a backdrop is striking. We see the subject, Moses, a survivor, his forearm bearing the visible tattoo. Then behind him, covering the wall, is his story written in longhand. Editor: It gives me chills! It feels like his memories are literally etched onto the world around him. And the way he’s holding himself… almost like he’s guarding himself, but also weary. Curator: The placement of that tattoo is deliberate. Numbers have always been potent symbols—a constant reminder, signifying loss of identity and profound trauma but also an emblem of survival against all odds. The number is forever branded to be seen, to witness. Editor: It's like he's shielding us from it with his crossed arms, but still, he makes sure it’s visible to give a glimpse into this story. You’re right – that pose… I feel like it captures so much complexity, from vulnerability to a deep resilience. What gets to me is how matter-of-fact it seems, which somehow only amplifies its devastating impact. Curator: Wolin’s use of stark realism ensures Moses' story—a story repeated countless times in different versions—is never forgotten. In terms of cultural memory, what visual element strikes you most profoundly? Editor: Definitely the number tattooed on his arm coupled with that haunted look. It transforms what might be a simple portrait into this whole document of a painful life experience. But somehow I find comfort seeing it recognized here. Curator: It's a challenging image, to be sure, a profound act of witnessing on both the part of the artist and the viewer. Editor: Exactly. Thanks for bringing that into view. It feels like we’ve connected with history itself today.