Manhattan Mountains 1939

Editor: Lawrence Nelson Wilbur's "Manhattan Mountains," an etching from 1939, presents a cluster of towering buildings. The sharp lines create an almost overwhelming sense of density. What do you see in this piece? Curator: This work really speaks to the anxieties and aspirations of the pre-war era. Think about the context: the Depression is ending, and there's this immense vertical thrust represented by these skyscrapers, literally and figuratively reaching for the sky. The way Wilbur uses etching – this dense network of lines – mirrors the crowded and complex social landscape. It’s not just a cityscape, but a commentary on power, ambition, and the often-unequal distribution of resources in urban spaces. Editor: So you see it as more than just a representation of New York's architecture? Curator: Absolutely. Consider who benefits from this kind of rapid development. Who has access to these towering structures, and whose labor built them? The lack of human presence in the foreground is also telling, no? It isolates us, invites critical thought of what's implied. Editor: It definitely shifts my perspective. I hadn't thought about the social implications of such development. The sharp contrast in light and shadow now feels less dramatic and more pointed. Curator: Precisely. This isn’t just about aesthetics; it’s about interrogating the social fabric represented by the steel and concrete. Art always reflects who we are. What would it mean if Wilbur depicted different types of architecture in different styles and materials? Editor: Right! That would dramatically shift its reading, placing an emphasis on, maybe, individuality over industry? Thank you, I’m going to carry that with me. Curator: An interdisciplinary interpretation invites us to confront not only this print but our understanding of society.