Untitled by Thomas Roma

Untitled 1992

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photography, gelatin-silver-print

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portrait

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contemporary

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black and white photography

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social-realism

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photography

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historical photography

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black and white

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gelatin-silver-print

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monochrome photography

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monochrome

Dimensions: image: 24.1 × 32.5 cm (9 1/2 × 12 13/16 in.) sheet: 27.94 × 35.56 cm (11 × 14 in.)

Copyright: National Gallery of Art: CC0 1.0

Curator: This gelatin-silver print, simply titled "Untitled," was created by Thomas Roma in 1992. It’s quite a stark, yet intimate image. Editor: Yes, immediately, the scene evokes a sense of solemnity and introspection. The monochrome palette heightens the emotional intensity, making me focus on the expressions and gestures of each person present. Curator: Roma dedicated much of his photography to documenting communities often overlooked, capturing candid moments of everyday life. Looking at his process, the final prints showcase meticulous craftsmanship. But let's delve into this photograph. What might the narrative tell us about the community represented, its spiritual practices, or socio-political realities of the time? Editor: Given Roma's focus, the historical context of the early 1990s is vital. We're likely seeing a snapshot of faith, community, and resilience within a specific cultural group. The act of capturing such an intimate ritual reflects the subject's positioning. In what ways are race and class structuring forces? How does their identity shape our perception? Curator: Precisely. These social underpinnings, the cultural background and community are essential considerations when understanding this. We see these moments in Black churches. How can these social documents inform the institutions shaping and being shaped? Editor: The exit sign above creates this visual tension that prompts this discussion. It signifies an ending or leaving—but what, exactly, is leaving? What ways are social constructs structuring realities for the sitter? Is there a larger metaphor in this work for breaking barriers and overcoming oppressive structures? Curator: These questions feel like exactly what Roma's vision aimed at triggering. With images that invite you to engage with its social layers. How these people have historically been framed within American society but not as their stories to tell. What are the effects? Editor: Agreed, ultimately the artwork challenges viewers to look beyond face value. We have an opportunity to witness stories of the past, to become conscious of the historical impact that continues in the present.

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