On the East River c. 20th century

Curator: Here we have "On the East River," a photograph by Karl Struss, dating from around the early 20th century. It's rendered in photogravure, lending it a softness that’s quite characteristic of Pictorialism. Editor: Mmm, smells like old New York and wet docks. Makes you want to grab a cable knit sweater, huh? There's something quietly haunting in its silvery tones— a memory half-forgotten. Curator: Indeed. Struss masterfully employs the tonal range inherent in the photogravure process. Observe how the foreground vessels, particularly the "Mary K.", are heavily shadowed, almost obscuring detail, which guides the eye back to the subtly rendered cityscape in the distance. Semiotically, one might argue that the ships embody the industrial grit that gives way to an almost ethereal rendering of aspiration and progress in the hazy skyline. Editor: Aspiration is a heavy word, considering how anchored everything feels. Even that little steamboat back there, fighting to peek through. The way he shot this almost mutes any excitement… turns it into a gentle observation, don’t you think? Look at the water surface – such subtle modulation from dark foreground to lighter area toward the horizon line. Curator: I concur that observation is key. Struss, aligned with the Pictorialist aesthetic, was consciously reacting against the stark realism becoming prevalent in photography. The deliberate manipulation of focus, the tonality... all coalesce to elevate the image from mere documentation to an art form. It evokes mood through compositional balance and manipulation of visual space—not simply the scene represented. Editor: Balance is an interesting word. It almost seems on the edge of tipping over with all that dark at the bottom, holding the lighter elements in check. Kind of a fitting visual metaphor for life near the docks. Curator: Ultimately, Struss provides a nuanced study of light, form, and depth. One may look beyond simple representation and appreciate how this work pushes photography to redefine its capabilities as fine art. Editor: Totally. Next time I'm feeling too shiny, I’ll come back here for a dose of faded elegance and honest labor by the docks. Makes you want to look twice at everything.