Untitled (Up on the Roof) c. 1930s

Editor: This is "Untitled (Up on the Roof)," an etching made by Boris Gorelick around the 1930s. There's a bustling sense of labor happening on these rooftops, but also this undercurrent of isolation from the city surrounding them. What do you see in this piece that resonates historically? Curator: I'm immediately struck by how Gorelick's etching reflects the social realism movement prevalent during the Depression era. This depiction of ordinary people engaged in work, amidst the stark architecture of the city, speaks to the working-class experience of that time. Do you notice how the artist uses sharp, angular lines to create a sense of tension and perhaps even alienation? Editor: Yes, that tension is palpable! It almost feels claustrophobic even though it's a rooftop scene. Were artists consciously trying to depict these social issues, or was it a more organic reflection? Curator: It was definitely a conscious choice for many artists. There was a concerted effort, fueled by political ideologies, to use art as a means of social commentary and to advocate for the rights of the working class. Galleries and public art programs were displaying such work. Does that knowledge change how you view that figure in the foreground with the seeming smile? Editor: It does, actually. Initially, that figure seemed almost comic, but now, understanding the context, I see a kind of forced resilience, maybe even a critique of those in power who are unmoved by the struggles above them. Curator: Precisely. The art is commenting on societal conditions by showcasing the labor involved in constructing and maintaining urban spaces, but it questions whose lives are improved by these labors, and where the resources went. I wonder how the politics of today shape our interpretation. Editor: I think it really brings the sense of urban life being constructed by those less empowered into clear view for us, highlighting a long standing problem of resource allocation in American cities.