Untitled c. 1930

Editor: Here we have an intriguing photogram simply called "Untitled" by Franz Roh, dating from around 1930. It gives such an ethereal impression with its inverted tones and stark contrast. The composition feels so formal. What do you see in this piece, and how would you begin to interpret its visual language? Curator: Initially, the inverted tonal range arrests our attention. Observe how this reversal plays with our perception of form and space. The negative presentation forces a heightened awareness of texture and line. Notice how the sharp, geometrical window frames contrast with the soft contours of the figure's dress and fur. The juxtaposition prompts a formal tension that enlivens the composition. How does this relationship strike you? Editor: It's striking, creating almost two distinct planes despite existing in the same picture! Do you think the inversion means more in regards to Roh's possible meaning? Curator: Potentially, the use of a photogram itself, sidestepping the traditional lens and camera, announces a focus on pure materiality and process. The artist's hand is literally involved in creating the image, disrupting any illusion of objective reality. Instead, the subject, the female figure, seems constructed through light and shadow, line and form. How might the subject matter relate to the processes, do you think? Editor: Maybe by emphasizing her manufactured or styled look, like the fashion of the day, is similarly constructed. Looking closely, it definitely provides insight to the artist's methodology. I’ll think of photography differently going forward! Curator: Precisely! It allows us to decode the composition of the subject through Roh's visual strategies.