Casablanca, 2004, at the Marrakesh Gate Possibly 2004 - 2014

Curator: This is Leo Rubinfien’s gelatin-silver print, "Casablanca, 2004, at the Marrakesh Gate," possibly taken between 2004 and 2014. Editor: My initial response is one of subdued intensity. The stark monochrome palette focuses all the attention on the man's piercing gaze and the lines of his face. Curator: It's a fascinating piece within the context of Rubinfien's larger body of work, which often examines cultural nuances within specific locations. The choice to shoot in black and white speaks to a historical lineage of documentary photography and a specific choice to show some realism. What labor do we see here? Who does that car belong to? What kind of business does it take him to conduct near the Gate? Editor: Visually, I'm struck by how Rubinfien uses the surrounding architecture to frame the subject. The linear details—the roof rack, the building behind him—intersect and create these implicit geometric relationships that heighten the overall sense of... watchful stillness. The contrasts and gradients are gorgeous. It’s the careful juxtaposition of the man, the car, and his surroundings. The wall at the left has a story of its own, doesn’t it? Curator: Absolutely. These details position the man in a social and economic space, pointing to larger structures of power at play. The materiality of the gelatin-silver print itself also speaks to a specific historical moment in photography, right when digital was gaining prominence. What did it mean to make this choice to print a gelatin-silver print for an image like this? This also calls to mind a sort of class distinction because some materials are seen as being of higher caliber than others. The access is interesting. Editor: I agree; the choice of the medium certainly invites analysis. The sharpness of detail achieved through the gelatin-silver process enhances the real and gritty feel, furthering the work’s sense of social realism. The way light plays across his face and clothing emphasizes the lines and forms inherent to his being, bringing forth themes of aging and time and timelessness. Curator: Right, this choice adds weight, like a conscious echo of older documentary projects focusing on labor. He looks straight into our eyes, defying us. It's not just about him, but it's a collaboration: photographer and subject that shows an honest perspective that isn't exploitative or patronizing. Editor: Precisely, and it all funnels back to this powerful feeling. I think it is a well-composed, insightful portrait and snapshot that rewards a longer look. Curator: I agree, understanding this in connection with the material's origins reveals important layers that enrich our view. Thank you.