New York City 1976

Editor: Larry Fink's "New York City" from 1976, captured through gelatin-silver print, really grabs your attention. The composition is intimate, almost like you're eavesdropping on this tense conversation. What stories do you think it’s trying to tell about the city? Curator: Well, consider the historical context. 1970s New York City was on the verge of bankruptcy. Crime was high, and there was a stark division between the wealthy and working classes. How does this image reflect those social disparities? Editor: I guess you can see it in the contrasting appearances. One figure has the fur coat, while in the background there's someone who looks… less affluent. It hints at those different worlds existing side by side. Do you think Fink was trying to make a political statement? Curator: It’s not just about wealth. Fink’s photography often portrays power dynamics, particularly within social circles. How do you read the body language and setting? Is this a neutral observation, or does Fink position himself to critique the scene, subtly perhaps, by emphasizing the contrasts through harsh lighting and close proximity? Think about the role of photography in shaping our perceptions of social classes at this time. Editor: That's interesting. I never thought about the lighting playing into the power dynamic like that. Curator: Social realism uses that technique. It calls for an objective but empathetic look at a scene. Does this particular example succeed at being objective? Are there choices here that imply a leaning? Editor: Maybe "objective" is a myth. It’s impossible not to bring your own bias. Thank you! This gives me a totally different view of it. Curator: Precisely! And hopefully a greater appreciation for how photography engages in these conversations of class, power, and identity.