Untitled [New Orleans and the Gulf Coast, 2005] Possibly 2005 - 2010

Curator: Richard Misrach's "Untitled [New Orleans and the Gulf Coast, 2005]" captured sometime between 2005 and 2010 is a photograph layered with meanings. What strikes you most when you look at it? Editor: Bleakness. The washed-out colours, the debris-strewn lawn, the rather haunting graffiti… it speaks of abandonment and lingering trauma. The light is just... heavy. Curator: Indeed. Misrach often explores humanity's relationship to the landscape, especially in the face of environmental disruption and societal collapse. The graffiti becomes incredibly poignant. "Yep, Brownie, you did a heck of a job" is dripping with bitter irony when you consider the failures around Hurricane Katrina. Editor: "Brownie" refers to Michael Brown, the FEMA director at the time, right? Ouch. It’s like the city itself is scrawling its pain on the walls, using satire as a shield. But amidst that cynicism, there's this competing message: "Lois – we love you – Bye for now.” That’s human. Curator: Exactly! The messages exist in dialogue with each other. Lois becomes this beacon of resilience and personal connection, coexisting with the critical assessment of a broken system. Graffiti often acts as a modern form of hieroglyphs. What do you think of it that way? Editor: Considering the placement, its like someone wanted future generations to understand. Maybe graffiti is just human memory trying to stay afloat in times of turmoil. A desperate act of marking our presence. The text here fights against complete erasure, reminding us of who and what was lost. It's brutal and yet intimate all at once. Curator: Absolutely, the personal juxtaposed with the systemic. Both coexist, reminding us that large-scale tragedies impact the individual most acutely. Editor: The image is both sad and defiant in its refusal to let the human spirit be completely extinguished. I am both saddened and invigorated. Curator: A powerful piece that continues to resonate deeply.