Two Men 1936

Curator: Looking at this gelatin silver print by Nathan Lerner, made in 1936, I'm immediately struck by its gritty realism. It’s called "Two Men". Editor: It’s incredibly stark, isn’t it? The textures are so prominent—the rough brick, the men’s worn suits, the cobblestone feel—and all captured in such crisp detail in the silver print. It gives you a strong sense of place. Curator: Absolutely. Lerner was working in the vein of the Ashcan School. He seemed focused on capturing everyday life. You see these two men on the street. In the background, two women sit above them, posed on what look like some tenement stairs. It feels very candid, a slice of urban existence. Editor: Those clothes are interesting to consider too. The younger man is wearing what looks like a full suit, almost dapper next to the other man’s worn attire. This choice to document this difference emphasizes labor in different forms. Were they factory workers or some kind of clerical staff perhaps? How did the manufacturing of their clothing reflect their position in society? Curator: That is something that Lerner’s contemporary viewers likely pondered as well. These portraits captured the socio-economic climate of the era, revealing class distinctions and offering commentary on life during the Depression era, when manufacturing underwent profound changes. These kinds of images were also quite popular in socially conscious galleries at that time. Editor: The formal aspects reinforce that feeling too. The contrasting textures of the building behind them versus the smooth finish of their suits. I also find myself looking at their postures. One holds a cigarette up to his lips; the other stands with clasped hands, both gazing out of frame, in a stance of stoicism or boredom. It's quite potent imagery. Curator: The photograph does invite these reflections on social conditions. As a genre-painting portrait it provides this access. It encapsulates this moment with an honest sensibility, one Lerner and others tried to offer to the viewers of the day. Editor: Seeing these subjects frozen in this medium allows us to see past and present social disparities with clear vision. Thank you for the context, curator. Curator: It’s a pleasure to see this through the lens of labor with you, editor.