Hebron, 2008, at the Qurtuba School Possibly 2008 - 2014

Editor: Let's discuss Leo Rubinfien’s “Hebron, 2008, at the Qurtuba School”, a black and white photograph. There's something so unsettling about the way the subjects seem to peer out at the viewer, their faces partially obscured. What do you make of it? Curator: That unsettling feeling, I think, is central to understanding the photograph's power. Consider the historical context: Hebron is a city marked by conflict. What do you think the framing, this sense of being watched, contributes to our understanding of that socio-political landscape? Editor: I guess it makes you feel like you're intruding on a private moment, or even witnessing something you shouldn't be seeing. Is that what the artist was trying to do, implicate the viewer? Curator: It's plausible. Photography has often been used as a tool of both documentation and political commentary. By presenting these figures, possibly students, in this fragmented way, Rubinfien avoids simplistic representation. Instead, the photograph raises questions about observation, about power, about the act of seeing itself. What choices does the photographer make to put you in this uncomfortable position as the viewer? Editor: The cropping is so tight, and the contrast in monochrome, with the eyes peering out like that. And, also, you are made aware of being excluded as much as included. It highlights this sense of separation and tension. It’s a bit of a relief to understand how context really transforms the viewing experience. Curator: Precisely! Understanding the historical and political context enriches our understanding. It challenges us to move beyond the aesthetic and consider the complex power dynamics at play. Editor: Thanks, that’s given me a lot to consider when viewing this piece. Curator: Absolutely. Keep questioning what you are seeing and place it in history, and it'll tell you more!