New York 1987

Editor: Here we have Rosalind Solomon’s "New York," a gelatin-silver print from 1987. There’s a stark vulnerability here, an immediacy…the IV apparatus is just…present. What’s your interpretation of this work? Curator: The image feels incredibly direct, doesn’t it? Looking at it through a historical lens, I see the shadow of the AIDS crisis looming large. 1987 was a critical year. Consider how representations of illness, particularly related to marginalized communities, were either absent or stigmatized in mainstream media. Editor: So, this is almost an act of visibility? A political statement just by existing? Curator: Precisely. Solomon's choice of the gelatin-silver print enhances the stark contrast, further emphasizing the rawness of the subject. But, who controls the narrative, here? Solomon, as photographer? Or the sitter by his assent in participation? What responsibility does Solomon, as photographer, bear? Editor: That’s a fascinating question. It pushes me to think about power dynamics. It seems like it creates a space to recognize shared humanity. Does this challenging dynamic help explain why this photograph might resonate differently with people over time? Curator: Yes, exactly! Over time, different audiences bring their own experiences and understanding of the evolving socio-political contexts of illness and representation to it. It reminds me that museums and galleries also have a role to play in how audiences interpret it. Editor: This conversation’s shifted my perspective completely, revealing dimensions I hadn't initially considered! Curator: And seeing your fresh eyes helped me reconsider our responsibility in displaying works like these. It is more than a portrait; it’s an archive of public sentiments and concerns from its moment in time.