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Robert Frank's "The Americans": Timeless Lessons Street ...

The 5 Best Photography Movies About Robert Frank Starting with his epic work "The Americans", photographer Robert Frank has profoundly shaped documentary photography in the 20th century.

Robert Frank in America-Cantor Arts Center at Stanford University In Robert Frank in America, ...

If Evans chose to see Robert Frank's work as ironic and detached, therewas, then, a double irony, for this might better be applied to Evans' ownphotographs.

"You can photograph anything now,"Robert Frank said in 1961.

Looking back with Robert Frank, the most influential photographer alive.

In fact, he took around twenty-seven thousand. There were more than seven hundred and sixty rolls of film to develop: an impressive tally, even to snap-happy profligates of the digital age. Then there were contact sheets to print and mark up; from those, he made a thousand work prints, which were tacked to the walls of his apartment on Third Avenue, near Tenth Street, or laid flat on the floor for closer inspection, before being whittled down to a hundred. The final count, from all those months on the road, was eighty-three pictures: enough for a slim book, which was published in November, 1958, in Paris, as “Les Américains,” and here, in January, 1960, as “The Americans.” For his pains, Frank was paid two hundred dollars in advance, a sum that rose to just over eight hundred and seventeen dollars by the end of the year. By then, the book was out of print.

And now look at it. Back on the walls again, not of his apartment—at eighty-four, he divides his time between New York and Nova Scotia—but of the Metropolitan Museum of Art, where “Looking In: Robert Frank’s ‘The Americans’ ” runs from September 22nd through January 3rd. Before that, it showed at the San Francisco Museum of Modern Art and, back in January, at the National Gallery of Art, in Washington, where Sarah Greenough, the senior curator of photographs, put together the exhibition and edited the catalogue—a beast of a book, more than five hundred pages long, stacked with a dozen essays, reproductions of letters and contact sheets, early Frank, late Frank, and, most helpfully, a map. Inside every fat volume, of course, a thin one is signalling quietly to get out, and, tucked away inside this hulk, not even starting until page 209, is the source of the fuss: the original pictures, of a burnished black-and-white, in all their roaring silence.

Comparison Essay: Robert Franks' 'The Americans ...

Inventors, Scientists, and Pioneers:

Alexander Graham Bell
John Deere
Thomas Edison
Henry Ford
Robert H. Goddard
Igor Sikorsky
Henry Heimlich
Julius Robert Oppenheimer
Noah Webster
Wilbur and Orville Wright
Neil Armstrong
Daniel Boone
Davy Crockett
Amelia Earhart
Andrew Jackson
Charles Lindbergh
Alan B. Shepard, Jr.
Chuck Yeager
Enrico Fermi
Stephen Hawking
Florence Bascom
Isaac Newton
Albert Einstein
Robert Oppenheimer
B. F. Skinner

Politicians & Activists:

Benjamin Franklin
William Jennings Bryan
James Buchanan
William Jefferson Clinton
Calvin Coolidge
Jefferson Davis
Dwight D. Eisenhower
Millard Fillmore
Gerald R. Ford
James A. Garfield
Al Gore
Ulysses Grant
Ernest Gruening
Warren G. Harding
William Henry Harrison
Benjamin Harrison
Carl Hayden
Rutherford B. Hayes
Patrick Henry
Herbert Hoover
Hubert H. Humphrey
Andrew Jackson
Thomas "Stonewall" Jackson
Thomas Jefferson
Andrew Johnson
Lyndon B. Johnson
John Kennedy
Abraham Lincoln
General Douglas MacArthur
James Madison
William McKinley
Walter Mondale
James Monroe
Richard Nixon
Thelma Pat Nixon
Franklin Pierce
James Polk
Janet Reno
Nelson Aldrich Rockefeller
Caesar Rodney
Theodore Roosevelt
Franklin Roosevelt
William Howard Taft
Zachary Taylor
Harry S Truman
Martin Van Buren
George Washington

Writers & Poets:

Ray Bradbury
Pearl S. Buck
Samuel Clemens
Robert Frost
John Grisham
Margaret Mitchell
Flannery O'Conner
Edgar Allan Poe
Ernest Hemmingway
Charles Schulz
Noah Webster
Laura Ingalls Wilder
Tennessee Williams
Louis L'Amour
Hank Ketcham

Cultural Figrues:

Fred Astaire
Bob Barker
Farrah Fawcett
Marylin Monroe (Norma Gene)
Daniel Boone
Marlon Brando
Tom Brokaw
Johnny Carson
Johnny Cash
Bing Crosby
Walt Disney
Bob Dylan
Barbara Eden
Jim Henson
Buddy Holly
Don Knotts
Cheryl Ladd
John Knowles Paine
Dolly Parton
Will Rogers
Charles Schulz
John Wayne
Lawrence Welk
Frank Lloyd Wright

Here, for example, is Butte, which Frank reached in May, 1956. Not a human in sight, though the imprint of human activity could hardly be more pronounced: a row of receding roofs and a line of cars on a cloth-gray street, at the end of which, in softer, pencilled tones, come the disfigured slopes of a copper mine. Drawing the eye, toward the top, is a plume of bright smoke, and, framing the whole design, as translucent as a bridal veil, are two thin patches of drape, left and right: “View from Hotel Window,” the title reads, and we realize that here is our human after all. We are sharing the gaze not just of Robert Frank but of every traveller who has ever woken in an unfamiliar town, moved blearily to the light, and shivered at the depths of his unwelcome. Others have tasted the same bleakness:

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To be able to see Robert Frank's application to the Guggenheim, ...

Reading becomes aconfrontation with Robert Frank, but it is as if he recedes,indifferently, at each approach; reading The Americans is like being in amaze where you are confronted at every turn with new passages.

this essay are from Jno Cook, "The Robert Frank ...

In June, 1955, Robert Frank bought a car. It was a Ford Business Coupe, five years old, sold by Ben Schultz, of New York. From there, Frank drove by himself to Detroit, where he visited the Ford River Rouge plant, in Dearborn, as if taking the coupe home to see its family. Later that summer, he headed south to Savannah, and, with the coming of fall, set off from Miami Beach to St. Petersburg, and then struck out on a long, diversionary loop to New Orleans, and thence to Houston, for a rendezvous with his wife, Mary, and their two children, Pablo and Andrea. Together, they went west, arriving in Los Angeles in the nick of Christmastime. They stayed on the Pacific Coast until May of the following year, when Mary and the children returned to New York. Frank, however, still wasn’t done. Alone again, he made the trip back, going via Reno and Salt Lake City, then pushing north on U.S. 91 to Butte, Montana. From there, it was a deep curve, though a swift one, through Wyoming, Nebraska, and Iowa to Chicago, where he turned south; at last, by early June, Frank and his Ford Business, his partner for ten thousand miles, were back in New York. It had been a year, more or less, since he embarked, and there was much to reflect upon. Luckily, he’d taken a few photographs along the way.


Exhibition Catalogue
The major catalogue accompanying this exhibition is published by the Cantor Arts Center in association with international publisher Steidl, with whom Frank has worked closely on most of his books. All 130 photographs in the exhibition are reproduced as full-page tritone plates. Galassi’s extensive essay traces the evolution of Frank’s work from his arrival in the United States in 1947 until he abandoned his first photographic career in the early 1960s. The text provides a thorough outline of the photographic context in which Frank at first sought success as a magazine photojournalist as well as a detailed analysis of the methods and strategies that lie behind The Americans. The essay features 24 illustrations, including an unprecedented map of Frank’s 1955–56 Guggenheim travels, which locates the sites of nearly all of the photographs in The Americans and in Robert Frank in America. The 200-page book, with a foreword by Connie Wolf, is designed by Katy Homans, New York.

Robert Frank in his home in New York City, 2000.

The essay below was headlined in as "Robert Frank, aPolemic View." Twenty years later I still have not figured out if thepeople at meant to apply that to me or to Robert Frank.

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