Providence after 1971

Curator: Looking at Harry Callahan's "Providence," held here at the Harvard Art Museums, I'm immediately struck by the layering, the way the city feels both present and ghostly. Editor: There's a tension, isn't there? These repeating architectural forms, like windows, become almost oppressive, yet softened by the ethereal quality of the image. What draws you to it, symbolically? Curator: The superimposition of the cityscape over cars suggests a dialogue between permanence and transience. Callahan often explored themes of place and identity, and here, the multiple exposures seem to question how we perceive reality itself. Editor: And what about the cultural backdrop? Callahan was working in a post-war America, grappling with urban development and societal shifts. Does "Providence" reflect that era's anxieties or aspirations? Curator: Perhaps both. The grid-like structure could represent the planned order of modern life, while the overlapping images hint at its inherent instability. For me, it evokes a sense of longing, a desire to find meaning within the chaos. Editor: It’s fascinating to consider how this manipulation of photographic reality mirrors our own fragmented experience of the world. Thanks for shedding light on this captivating piece.