New York 1987

Editor: This is Rosalind Solomon's "New York" from 1987, a black and white photograph of a pair embraced on a couch. It’s strikingly intimate, yet a little unsettling; the subjects look directly at the viewer. What draws your eye when you look at it? Curator: Well, I immediately think about how the piece, in its stark black and white and unflinching gaze, challenges the conventions of portraiture and the idea of representation in the late 20th century. Think about the AIDS crisis at the time—did that awareness change the social role of art? Editor: It's interesting you mention AIDS. I was also thinking about that crisis and the evolving imagery of bodies... Curator: Precisely. And the choice of black and white in 1987, when color photography was so prevalent, is a deliberate one. It invites the viewer to focus on the subjects' expressions and the intimate connection between them, stripped bare of any distraction. Where would a piece like this been seen? Editor: Possibly in a gallery or smaller museum show, maybe a social commentary exhibit? It feels like something meant for thoughtful, rather than casual, consumption. Curator: Exactly! Solomon isn't just presenting a portrait; she's prompting us to consider the power dynamics and social issues inherent in how we view others, making viewers conscious of how our perceptions have changed, haven’t they? Editor: Absolutely. I hadn't considered the black and white as a deliberate social statement, but framing it against that historical moment, I completely get that choice. Thanks, it provides me with a completely new perspective on this artwork! Curator: You’re welcome. I learned something new, too, considering your take. These kinds of intimate moments from our not-too-distant past, displayed publicly, are often quite transformative for both art and society.