Untitled (rhinoceros, close-up view) c. 1950

Curator: Here we have Jack Gould’s “Untitled (rhinoceros, close-up view),” a small-format gelatin silver print, part of the Harvard Art Museums collection. Editor: The high contrast immediately strikes me; the negative space almost overwhelms the subject, rendering it both imposing and vulnerable. Curator: Indeed. The photographic inversion adds a layer of complexity to our understanding of power dynamics and representation. Rhinos, often symbols of strength, are frequently objectified within colonial and conservation narratives. Editor: The extreme close-up also distorts our perception. The texture of the skin is emphasized, creating an almost abstract pattern that challenges conventional portraiture. Curator: The animal’s confinement within brick walls suggests a broader critique of captivity, raising questions about human intervention and the ethics of conservation. Editor: Perhaps Gould is urging us to see beyond the surface, to consider the rhino not merely as a specimen, but as a participant within a complex web of socio-political forces. Curator: A compelling point, highlighting the nuanced ways art reflects environmental concerns. Editor: Yes, and forces us to question our own gaze.