The Gates of the City c. 1922

Editor: So, this is John Taylor Arms' "The Gates of the City," made around 1922. It's an etching, or maybe a drawing... looks like pencil and ink, almost architectural in its precision. There's something both awe-inspiring and unsettling about the sharp lines receding into the distance. What do you make of it? Curator: It’s fascinating to see Arms engaging with urban space during a period of intense modernization. Notice how the perspective, while technically brilliant, creates a sense of almost oppressive monumentality. These aren’t inviting gates; they're imposing. Think about the socio-political climate of the 1920s. Editor: Oppressive monumentality... I like that. So you are suggesting that there is a parallel between what the artist conveys, and the urban expansion in American cities in the 1920s, with looming urban centers, even to those who lived there? Curator: Precisely! Ask yourself, what purpose did the city serve at this time? Was it purely to celebrate urban centers? Consider the history of city planning. Whose vision of the city is being represented here, and who is excluded? It feels like he is drawing from a revival style like Roman architecture, while also utilizing the popular architectural style from the early 20th century in New York City. Editor: That’s a side I hadn't considered. I was focused on the aesthetics of realism and the intricate detail. You have highlighted a really strong commentary on urban expansion! Curator: The beauty of art is in its capacity to be many things at once. Now when you look, what feelings emerge now? Editor: The grand city is a sign of promise, and exclusion all at the same time. Wow. Thanks, I'm seeing a lot more nuance here now! Curator: And I’ve appreciated the chance to re-examine this work through fresh eyes.