Buildings, New York City c. 1934

Curator: Walker Evans’ "Buildings, New York City," captured around 1934, is a gelatin silver print. Editor: Immediately, there’s something hauntingly still about it, you know? It feels quiet, almost like a stage set waiting for the actors. Curator: Exactly! The image epitomizes Evans' keen observation of American vernacular architecture, situating the buildings as social artifacts. Consider the Ashcan School influence here, depicting urban reality, a stark contrast to idealized cityscapes. Editor: The way the light rakes across the cobblestones... it gives everything this slightly off-kilter, dreamlike quality. And the signage! "Moe Levy & Son, Mens Clothes." It's like a forgotten time capsule. I can almost smell the old paper and wool. Curator: And think about who's missing – the people! The photograph highlights the impact of capitalist structures on ordinary lives during the Depression Era. Note how the signage is almost asserting commercial visibility amidst hardship. Editor: It makes you wonder about the stories behind each window, behind each brick. I like the presence of the fire hydrant there alone on the streets, that somehow anchors this sense of urban melancholy. Curator: The statue serves a dual role as a structural object and a symbol of public utility, almost like a silent guardian to the building, no? We should observe that it could represent ideas around safety and the presence or lack of safety for residents. Editor: Looking at the barber's pole I can see some evidence of life there in that space. There are ghosts in this photograph. I love the small iron fence and staircase up to one of the entryways and how that looks in comparison to the larger entryway directly to the side. Curator: Exactly! Evans captures not just buildings, but traces of life, offering an incisive social commentary. The interplay of shadow and light creates that. Editor: Well, I'm now lost in thought. I might need to come back and just wander the streets of the photo for a bit more. There is too much to see here! Curator: Yes, absolutely, its value resides in how it continues to challenge our perception.