Untitled 1992

Editor: Here we have Thomas Roma’s “Untitled,” a gelatin silver print from 1992. It depicts a man in a suit with his head in his hand, and there’s a hand on his shoulder in support. It feels weighty, solemn, but I can't quite put my finger on why. What do you see in this piece? Curator: I see a powerful commentary on Black masculinity and vulnerability. Look at the image closely. We're drawn to this man, perhaps at a wedding, caught in a moment of profound emotion. What does it mean to witness a Black man displaying this kind of raw feeling in 1992, or even today? Consider how Black men's emotional expression is often policed, forcing a stoicism born from historical oppression. Editor: That's interesting; I was reading the image as primarily about grief. You see something else at play. Curator: I do. It is about grief, perhaps, but grief embedded in a larger context of systemic injustice and the limited spaces for emotional release. Roma’s choice to photograph in black and white contributes to the timelessness and gravity of the image, echoing historical depictions of struggle. Do you think that knowing this was taken in the early 90s impacts your reading? Editor: Definitely. It pushes me to think about the social realities of that period—racial tensions, economic disparities, the AIDS crisis. It adds another layer of complexity to the man’s visible pain. Curator: Exactly. It becomes a visual text that speaks to intersectional layers of identity, social expectations, and historical trauma. This single photograph can foster crucial dialogues about representation and resilience. Editor: I never would have considered that, I'm looking at it in a whole new way. Thanks! Curator: And I now consider additional possible readings of suffering due to the personal aspect in the moment of mourning, it's a testament to the many interpretations held within a piece.