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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.
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.
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
Robert H. Goddard
Julius Robert Oppenheimer
Wilbur and Orville Wright
Alan B. Shepard, Jr.
B. F. Skinner
Politicians & Activists:
William Jennings Bryan
William Jefferson Clinton
Dwight D. Eisenhower
Gerald R. Ford
James A. Garfield
Warren G. Harding
William Henry Harrison
Rutherford B. Hayes
Hubert H. Humphrey
Thomas "Stonewall" Jackson
Lyndon B. Johnson
General Douglas MacArthur
Thelma Pat Nixon
Nelson Aldrich Rockefeller
William Howard Taft
Harry S Truman
Martin Van Buren
Writers & Poets:
Pearl S. Buck
Edgar Allan Poe
Laura Ingalls Wilder
Marylin Monroe (Norma Gene)
John Knowles Paine
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.
THE PHOTOGRAPHY OF ROBERT FRANK | "THE ...
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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