Exhibition dates: 12th September 2020 – 10th January 2021
Robert Frank (Swiss, 1924-2019)
White Tower, New York
1948
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
An interesting selection of media images, including some early Swiss and American photographs, which are rarely seen.
Frank’s perceptiveness of human beings and their context of being and becoming is incredible. Look at the faces in Landsgemeinde, Hundwil (1949, below), Paris (1952, below) and the attitude of the bodies, surmounted by the sun (top left), in London (1951, below).
“It is important to see what is invisible to others.”
Dr Marcus Bunyan
.
Many thankx to Fotostiftung Schweiz for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
The recently deceased Robert Frank is widely regarded as one of the most important photographers of our time. His book The Americans, first published in Paris in 1958 and then in New York the following year, is quite possibly the most influential photo book of the 20th century. As a kind of photographic road movie, it sketches a gloomy social portrait that served as a wake-up call to all of America at the time. And his personal style, alternating between documentary and subjective expression, radically changed post-war photography. But The Americans wasn’t merely a spontaneous stroke of genius. Frank’s early works already feature back stories and side plots that are closely connected to the themes and images of his legendary book. The Fotostiftung Schweiz holds a collection of lesser-known works – many of which were donated by the artist – which illustrate the consolidation of Frank’s subjective style. In addition to essays from Switzerland and Europe, it also includes works from early 1950s America that are on par with the well-known classics, but remained unpublished for editorial reasons. At the heart of the exhibition Robert Frank – Memories is the narrative force of Frank’s visual language, which developed in opposition to all conventions and only received international recognition when Frank had already abandoned photography and turned to the medium of film.
The exhibition is accompanied by a presentation of the books that publisher Gerhard Steidl produced with Robert Frank over a period of more than 15 years.
Robert Frank (Swiss, 1924-2019)
New York City
1948
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
Robert Frank (Swiss, 1924-2019)
Landsgemeinde, Hundwil
1949
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
Robert Frank (Swiss, 1924-2019)
Landsgemeinde, Hundwil
1949
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
Robert Frank (Swiss, 1924-2019)
Landsgemeinde, Hundwil (detail)
1949
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
Robert Frank (Swiss, 1924-2019)
Landsgemeinde, Hundwil (detail)
1949
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
Robert Frank (Swiss, 1924-2019)
London
1951
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
Robert Frank (Swiss, 1924-2019)
Paris
1952
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
Robert Frank (Swiss, 1924-2019)
New York City
early 1950s
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
Robert Frank, who was born in Zurich in 1924 and died last year in Canada, is widely regarded as one of the most important photographers of our time. Over the course of decades, he has expanded the boundaries of photography and explored its narrative potential like no other. Robert Frank travelled thousands of miles between the American East and West Coasts in the mid-1950s, going through nearly 700 films in the process. A selection of 83 black-and-white images from this blend of diary, sombre social portrait and photographic road movie would leave its mark on generations of photographers to come. The photobook The Americans was first published in Paris, followed by the US in 1959 – with an introduction by Beat writer Jack Kerouac, no less. Off-kilter compositions, cut-off figures and blurred motion marked a new photographic style teetering between documentation and narration that would have a profound impact on postwar photography.
It is quite possibly the single most influential book in the history of photography; however, rather than being a spontaneous stroke of genius, Frank had worked on his subjective visual language for years. Many of his photographs from Switzerland, Europe and South America, as well as his rarely shown works from the USA in the early 1950s, are on a par with the famous classics from The Americans. The photographer’s early work, which remained unpublished for editorial reasons and is therefore little known to this day, reveals connections to those iconic pictures that still define our image of America, even today.
At the heart of the exhibition Robert Frank – Memories is the narrative force of Robert Frank’s visual language, which developed in opposition to all conventions and only received international recognition after Frank had already abandoned photography and turned to the medium of film. The exhibition mainly features vintage silver gelatin prints from the collection of the Fotostiftung Schweiz, which either come from the former collection of Robert Frank’s long-time friend Werner Zryd (now owned by the Swiss Confederation) or were donated to the Fotostiftung Schweiz by the artist himself. They are complemented by a number of loans from the Fotomuseum Winterthur. A presentation of the books and films that publisher Gerhard Steidl released with Robert Frank over a period of more than 15 years accompanies the exhibition (in the corridor leading to the library and in the seminar room).
Early Work
In March 1947, Robert Frank arrived in New York following an adventurous journey on a cargo ship. The young, ambitious photographer had found Switzerland too stifling and he hoped to gain new freedom in America liberated from social and family obligations. The photographer carried a 6×6 Rolleiflex and a small spiral-bound book of 40 photographs taken during his apprentice years from 1941 to 1946. This portfolio included landscapes, portraits, personal photojournalistic works, and meticulously executed still lifes, all of which reveal that the 22-year old was a highly skilled photographer. It is therefore unsurprising that influential Harper’s Bazaar art director Alexey Brodovitch swiftly hired Frank as an assistant photographer after seeing his portfolio and first test photos.
In the magazine’s in-house photo studio, Frank photographed fashion industry products from clinical shots of women’s shoes and every imaginable accessory to laboriously staged fashion shoots and occasionally even photojournalistic assignments offering a little more freedom. Frank was successful and rose through the ranks, but quickly realised that this industry cared only about money, an attitude to which he couldn’t reconcile himself. Only a few months later, he quit his job in order to be able to work wholly free of constraints. He traveled to Peru and Bolivia the following year and often used his 35 mm Leica. Later he recalled: “I was making a kind of diary. I was very free with the camera. I didn’t think of what would be the correct thing to do; I did what I felt good doing. I was like an action painter.”
Frank returned to Europe in spring 1949. He photographed the yearly cantonal assembly in the Swiss canton of Appenzell Ausserrhoden, during which citizens (exclusively men back then) voted by a show of hands. However, he was unsuccessful in placing this story with a major periodical, even though he circulated the images via the acclaimed agency Magnum. Evidently, Frank had focused too little on the actual events. He was more interested in the bystanders’ stances than in the pomp of government officials wearing tailcoats and top hats. His photographs of this assembly prefigure the penetrating and critical gaze he would later level on America’s societal and political landscape. Here as there, his was an outsider’s subjective and inward looking perspective.
Black White and Things
In late 1949, the international magazine Camera published a first selection of Robert Frank’s work. The accompanying text described him as a photographer who loved “truth and unvarnished reality”, as someone “whose thirst for experience compelled him to get out and capture life with his camera”. Indeed, Frank worked chiefly in Paris, London, and Spain between 1949 and 1953, frequently traveling between Europe and the US. He reported on a bullfighter in Spain and observed life in London’s financial district. In Paris he took pictures of objects – mostly chairs and flowers – photographs he assembled in an album dedicated to his future wife. In subsequent years, he shook off any sentimental tendencies.
Frank continued his attempts to publish both smaller and more substantial stories and photo essays in glossy magazines such as Life, but with limited success. His reportage on Welsh coal miner Ben James, which appeared in U.S. Camera 1955 annual, was a rare exception. But Frank found himself less and less able to reconcile himself with the conventional view of photography as a universal language accessible to all. Instead, he increasingly distanced himself from print media’s expectations and developed a strong aversion to what he once termed stereotypical “Life stories”, “those goddamned stories with a beginning and an end”.
In autumn 1952, Frank created Black White and Things with his Zurich-based friend Werner Zryd. This handmade book comprising 34 photographs was an attempt to counter these expectations with something new: an intuitively ordered series of photos with neither text nor linear narrative structure, introduced simply by Saint-Exupéry’s famed lines from The Little Prince: “It is only with the heart that one can see rightly; what is essential is invisible to the eye.” Accordingly, Black White and Things is a kind of three-part visual poem: “Black” evokes death, materialism, loneliness, and anonymity; “White” evokes home, love, religion, and camaraderie; and “Things” engages with diametrical oppositions such as friendship and cruelty, and affection and solitude. The order and pairing of the images sparks thoughts, associations, and feelings. Yet Frank’s evocative arrangement is intentionally ambiguous and open: “Something must be left for the onlooker, he must have something to see. It is not all said for him.”
America, America
After a further trip to New York – which he assured his mother would be his last – Robert Frank applied for a Guggenheim fellowship in October 1954. His project proposal was for an “observation and record of what one naturalised American finds to see in the United States that signifies the kind of civilisation born here and spreading elsewhere”. The result was to be a book, for which he had already won support from Arnold Kübler, the long-standing editor of the Zurich-based culture magazine Du, and Robert Delpire, a young publisher in Paris. Thanks to help from Alexey Brodovitch, Walker Evans, Edward Steichen and others, Frank was the first European photographer to be awarded this generous fellowship. The award made it possible for him to set off on his now-legendary road trips across the US in spring 1955.
Over almost two years, Frank took more than 20,000 photographs on his travels. He made roughly 1,000 work prints in the autumn and winter of 1956-57, which he pinned to the walls and laid on the floor of his apartment. At the time his home was East Village, New York, where artists including Alfred Leslie and Willem de Kooning also lived. Over many months Frank made countless passes through his photographs, eliminating those images he was unsure of and focusing on specific themes. He constantly rearranged the selection that was gradually coming together until he had a first mocked-up book with just under 90 images and the provisional title America, America. Frank took this book with him when he traveled to Europe in summer 1957, showing it to Delpire and his Swiss photographer friend Gotthard Schuh.
Over the years, the America photographs not included in his final selection disappeared into archives and collections or even got lost altogether. Only recently has it been possible to ascertain that many of the rejected and unpublished photographs were of the same caliber as the 83 book images Frank and Delpire agreed on. Frank’s contact sheets show that these photos were often taken directly before or after the images that have become icons of photographic history. Rather than putting forth a single message, Frank’s dark take on 1950s America contains impressive variations, facets, and excursuses that made a powerful impression on many, including his early supporter, Schuh. Schuh wrote to his young friend: “I don’t know America, but your photographs frighten me because in them you show, with visionary alertness, things that affect us all.”
The Americans
Following the first French edition of Les Américains, Robert Frank’s book was published as The Americans in New York in 1959. The English edition dropped the cover illustration and the selection of texts on America (which Delpire had insisted on over Frank’s protests), and added an introduction by Jack Kerouac. Frank had much in common with the Beat poets, though he only met them after his Guggenheim-funded travels. Like Kerouac’s main character in On the Road, Frank crisscrossed the country with apparent aimlessness, working spontaneously. Moreover, his work shares a stylistic consonance with Beat literature: Frank had abandoned all technical conventions and photographed intuitively instead. Many of his photographs are underexposed and grainy; they frame a scene and omit key details; their horizons are slanting and the lighting is often murky. Frank’s focus was the everyday, the fleeting, and the marginal. People are shown turning away from the camera, and his landscapes are desolate and bleak, “really more like Russia”, as Frank once remarked to Kerouac. He flouted the rules he had learned during his early training as a photographer in Switzerland in order to be as true as possible to his subjective experience and to capture unvarnished reality.
Kerouac’s introduction begins with the words: “That crazy feeling in America when the sun is hot on the streets and music comes out of the jukeboxes or from a nearby funeral, that’s what Robert Frank has captured in tremendous photographs taken as he traveled on the road around practically forty-eight states in an old used car (on Guggenheim Fellowship) and with the agility, mystery, genius, sadness and strange secrecy of a shadow photographed scenes that have never been seen before on film …” The Americans is a long, poetic image arc with cross-references, digressions, and associations, but also mental leaps and ambiguities, which provoked many critics. Although most acknowledged that Frank’s photographs were highly powerful, they read his take on Americans as a malicious attack on the country. Frank, a Jewish foreigner, was resented for picking up on the racism, hollow patriotism, commodified cheer, and political corruption lurking behind the façade of American society. Even before his groundbreaking book was published, Robert Frank wrote: “Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. It is important to see what is invisible to others.”
Martin Gasser, Curator
Robert Frank (Swiss, 1924-2019)
“Los Angeles”
1955
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
Robert Frank (Swiss, 1924-2019)
City fathers – Hoboken, New Jersey
1955
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
Robert Frank (Swiss, 1924-2019)
Bus-Stop, Detroit
1955
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
Robert Frank (Swiss, 1924-2019)
Bar – Gallup, New Mexico
1955
Gelatin silver print
© Andrea Frank Foundation; courtesy Pace/MacGill Gallery, New York
Robert Frank (Swiss, 1924-2019)
Charity Ball – New York
1954
© Andrea Frank Foundation; courtesy Pace / MacGill Gallery, New York
Collection of the Swiss Photo Foundation
Müller + Hess, Wendelin Hess and Jesse Wyss, Basel / Zurich
Fotostiftung Schweiz
Grüzenstrasse 45
CH-8400 Winterthur (Zürich)
Phone: +41 52 234 10 30
Opening hours:
Tuesday – Sunday 11am – 6pm
Wednesday 11am – 8pm
Closed on Mondays
Exhibition: ‘Robert Frank in America’ at the Cantor Arts Center, Stanford University Part 1
Tags: american artist, American landscape, American photography, automobiles, Barber shop through screen door, Belle Isle Detroit, Butte Montana, Canal Street New Orleans, Central casting Hollywood, Charleston South Carolina, Church Organ and Pews, Covered car Long Beach, Detroit 1955, Downtown street New Orleans, Drive-In Movie Detroit, Elevator Miami Beach, En route from New York to Washington, Florida 1958, Ford River Rouge Plant, guggenheim fellowship, Iowa 1956, Lusk Wyoming, Main St., Main Street Savannah, mefiance, New York City 1949, New York City early 1950s, Ossining, Parade - Hoboken, people, politics, race, religion, Robert Frank, Robert Frank Barber shop through screen door, Robert Frank Beaufort South Carolina, Robert Frank Belle Isle Detroit, Robert Frank Butte Montana, Robert Frank Café Beaufort, Robert Frank Canal Street New Orleans, Robert Frank Central casting Hollywood, Robert Frank Charleston South Carolina, Robert Frank Covered car Long Beach, Robert Frank Detroit 1955, Robert Frank Drive-In Movie, Robert Frank Elevator Miami Beach, Robert Frank En route from New York to Washington, Robert Frank Florida 1958, Robert Frank Ford River Rouge Plant, Robert Frank Guggenheim Fellowship, Robert Frank in America, Robert Frank Iowa 1956, Robert Frank Lusk Wyoming, Robert Frank Main Street Savannah, Robert Frank New York City 1949, Robert Frank New York City early 1950s, Robert Frank Parade - Hoboken, Robert Frank Reno Nevada, Robert Frank The Americans, Robert Frank Trolley - New Orleans, Robert Frank U.S. 91 leaving Blackfoot, the americans, the media, The road, Trolley - New Orleans, U.S. 91 leaving Blackfoot, Walker Evans, Walker Evans Church Organ and Pews, Walker Evans Downtown street New Orleans, Walker Evans Main St.
Exhibition dates: 10th September 2014 – 5th January 2015
Curator: Peter Galassi
The lunatic sublime of America
This is the first part of a bumper two-part posting.
Robert Frank (born November 9, 1924) is one of the most important photographic artists of the twentieth century. He was born in Switzerland but he emigrated to American in 1947. He soon gained a job as a fashion photographer for Harper’s Bazaar. He honed his craft as a photographer in England where he took formal, classical images of British life during a trip to Europe and South America in 1947.
He became friends with Edward Steichen and Walker Evans, and it was Evans who supported him in his Guggenheim Fellowship application in 1955 which enabled him “to travel across the United States and photograph all strata of its society. Cities he visited included Detroit and Dearborn, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana;Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois. He took his family along with him for part of his series of road trips over the next two years, during which time he took 28,000 shots. 83 of these were selected by him for publication in The Americans.”1
In The Americans, Frank documents, “the tensions between the optimism of the 1950s and the realities of class and racial differences. The irony that Frank found in the gloss of American culture and wealth over this tension gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting and cropping that deviated from accepted photographic techniques.2
Originally published as Les Américains in 1958 by Robert Delpire in Paris, and finally in 1959 in the United States by Grove Press, reaction in America was initially hostile. They American critics did not like Frank’s shoot from the hip style of photography, nor the mirror that was being held up to their society, especially by a Jewish foreigner. Over time The Americans came to be seen as a seminal work of American photography and social history. Like many artists, Frank only took photographs for a relatively short period of time, before moving on to become a filmmaker.
One cannot forget the era in which Frank took these photographs – that of McCarthyism and “the Second Red Scare, lasting roughly from 1950 to 1956 and characterized by heightened political repression against communists, as well as a campaign spreading fear of their influence on American institutions and of espionage by Soviet agents.”3 Americans were suspicious of foreigners, especially ones with cameras, and this was still the era of racial segregation pre the civil rights movement of the 1960s.
With regard to the structure of the photographs, their origin is based in classicism. This was Frank’s training. It was his skill as an artist, his intuitive and prescient vision of America – how he saw America like no one else before him had – that enabled him to ramp up the intensity, shoot from weird angles, low lighting, cropping, depth of field, unusual focus – and focus on the iconography of America as never seen before: jukeboxes, American flags, cars, highways, death, racial segregation – that was so revolutionary. But he could not have done that without his formal training. You only have to look at the comparison between the photographs of Robert Frank and Walker Evans. Formal and elegant in Evans Church Organ and Pews (1936) and Downtown street, New Orleans (December 1935) with lines vertical and clean… and then Frank, with hardly a straight line or neat angle to be seen. But the one does inform the other, otherwise Frank’s photographs would just become snapshots, vernacular photographs with very little meaning. Which they are not.
This is one of the most powerful, lyrical, humanist photo essays of a country that has ever been taken. Critic Sean O’Hagan, writing in The Guardian in 2014, said The Americans “changed the nature of photography, what it could say and how it could say it. [ . . . ] it remains perhaps the most influential photography book of the 20th century.”4 As an artist, Frank became the great connector for he is the critical link in the chain that stretches from Lewis Hine through Walker Evans… and on to Lee Friedlander, Garry Winogrand and Joel Meyerowitz.
As an artist you marvel at his intuition and inspiration, to look at the world as no one else had done before, to push the boundaries of medium and message. To photograph people, alone and in groups; politics; religion; race; automobiles and the road; and the media and thrust them into the white, bright, happy world of 1950s consumerist America saying: this is what this country is really like, this is my “impression” of you in all your fleeting madness, “America as an often bleak and lonely place.” You only have to look at the “eye” in U.S. 91, leaving Blackfoot, Idaho (1956, below) or look at the photograph of the grave by the side of the road to know that you are in Blue Velvet territory (David Lynch, director 1986, the title is taken from The Clovers’ 1955 song of the same name). I am not sure yet how one world pierces the other but believe me they surely do.
Marcus
.
Many thankx to the Cantor Arts Center for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Walker Evans
Main St., Ossining, New York
1932
Gelatin silver print
Robert Frank (U.S.A., b. Switzerland 1924)
Detroit
1955
Gelatin silver print
Cantor Arts Center Collection, Gift of Raymond B. Gary
“In 1955 and 1956, Swiss-born photographer Robert Frank (b. 1924) traveled throughout the United States on a Guggenheim Fellowship, photographing ordinary people in their everyday lives. His book The Americans – 83 photographs, mostly from those travels, published in 1959 – repudiated the bland good cheer of the magazines with an image of the country that was starkly at odds with the official optimism of postwar prosperity. The book became a landmark of photographic history; but Frank soon turned to filmmaking, and the rest of his early photographic career was largely forgotten. An important group of unknown or unfamiliar photographs in the Cantor Arts Center’s collection provides the core of the exhibition Robert Frank in America, which sheds new light on the making of The Americans and presents, for the first time, Frank’s American photographs from the 1950s as a coherent body of work.
“We are delighted that the Cantor’s collection has provided the basis for a fresh look at one of the great achievements of 20-century photography,” said Connie Wolf, John and Jill Freidenrich Director of the Cantor Arts Center. “We are also deeply grateful to Robert Frank, who has generously contributed to the project.”
The exhibition Robert Frank in America, on view September 10, 2014 through January 5, 2015, features 130 photographs drawn primarily from the Cantor’s collection as well as from other public and private collections and from Frank himself. Peter Galassi, former chief curator of photography at the Museum of Modern Art, New York, is the exhibition’s guest curator and author of the accompanying publication.
The Exhibition’s Development from the Cantor’s Collection
In the summer of 2012, Wolf invited Galassi to offer his thoughts on one of the museum’s hidden treasures: more than 150 photographs by Robert Frank given to the Cantor in the mid-1980s by Stanford alumnus Bowen H. McCoy and his colleague Raymond B. Gary. This remarkable collection spans the full range of Frank’s photographic career before he turned to filmmaking in the early 1960s. It is especially rich in Frank’s American work of the 1950s, including scores of photographs that are unknown or unfamiliar even to scholars. Wolf and Galassi saw an opportunity to share this work with Stanford students, faculty, scholars at large and the general public.
Research began at the National Gallery of Art, Washington, where more than two decades ago the artist established the archive of his photographic career prior to 1970. Studying more than 1,000 contact sheets enabled Galassi to determine the locations and dates of dozens of previously unidentified photographs in the Cantor collection. He then selected works for the exhibition so as to identify Frank’s major themes and artistic strategies. The compelling sequence of The Americans poetically weaves diverse images into a seamless whole, but Robert Frank in America groups related pictures to explore the pictorial strategies that Frank developed as he worked, and also to highlight important subjects – people, alone and in groups; politics; religion; race; automobiles and the road; and the media.
Frank repeatedly photographed isolated figures so that they seemed trapped by pictorial forces, for example. This powerful metaphor for Frank’s vision of lonely individuals imprisoned by social circumstances is announced in the first picture, The Americans, where the flag obliterates a spectator’s face (Parade – Hoboken, New Jersey, 1955). In Robert Frank in America, that photograph is juxtaposed with another that uses the identical pictorial scheme but a different subject; the interior of a bar (New York City, 1955).
“Although The Americans is famous – partly because it is famous – Robert Frank’s American work of the 1950s has never been considered as a whole,” said Galassi. “The full range of the work shows just how Frank turned the vocabulary of magazine photojournalism on its head and used it to speak in a personal, poetic voice.”
Inviting Galassi to organize the exhibition was part of the museum’s renewed commitment to collecting, studying and presenting photography, Wolf says. The Cantor has been adding to its already strong holdings, presenting innovative exhibitions of work by distinguished artists and providing a valuable opportunity for Stanford students and faculty to work directly with photographs. Leland Stanford’s commission more than a century ago for Eadweard Muybridge’s pioneering work on animal locomotion serves as a foundation for the museum’s extensive collection today.
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
Robert Frank was born in 1924 in Zürich, Switzerland. The conclusion of World War II ended his vulnerability (his father was a German-born Jew) and enabled him to escape what he regarded as a narrow, antiquated culture. Soon after reaching New York in March 1947, he was hired by Harper’s Bazaar, but his distaste for photographing fashion led him to quit after six months. Over the next five or six years, in Europe and the United States, Frank aimed to establish himself as a freelance photojournalist, with limited success. A Guggenheim Fellowship, awarded in March 1955 and renewed a year later, freed him to pursue his work independently, and he soon began to travel in hopes of making a book. Les Américains was published by Robert Delpire in Paris in 1958 and, as The Americans, by Grove Press in New York in 1959. The latter included an introduction by Jack Kerouac, author of On the Road.
Film and video have formed a central aspect of Frank’s work since 1959, when he collaborated with Allen Ginsberg, Jack Kerouac and Alfred Leslie on Pull My Daisy. In 1972, however, he resumed making photographs, often using Polaroid positive-negative materials and incorporating text and multiple images. That same year he published the first of several editions of The Lines of My Hand, a book that surveyed his career in all mediums and initiated reconsiderations of his early photographic career. The first full-scale retrospective of his photographs was organized at the Museum of Fine Arts, Houston, in 1986. In 1990, a major gift by Frank established the Robert Frank Collection at the National Gallery of Art, Washington, which has since presented two major exhibitions, each accompanied by an important book: Robert Frank: Moving Out (1994) and Looking In: Robert Frank’s “The Americans” (2009).”
Press release from the Cantor Arts Center
Robert Frank (U.S.A., b. Switzerland 1924)
Beaufort, South Carolina
1955
Gelatin silver print
Cantor Arts Center Collection, Gift of Raymond B. Gary
Guggenheim proposal summary
“To photograph freely throughout the United States, using the miniature camera exclusively. The making of a broad, voluminous picture record of things American, past and present. This project is essentially the visual study of a civilization and will include caption notes; but it is only partly documentary in nature: one of its aims is more artistic than the word documentary implies.”
The full statement
“I am applying for a Fellowship with a very simple intention: I wish to continue, develop and widen the kind of work I already do, and have been doing for some ten years, and apply it to the American nation in general. I am submitting work that will be seen to be documentation - most broadly speaking. Work of this kind is, I believe, to be found carrying its own visual impact without much work explanation. The project I have in mind is one that will shape itself as it proceeds, and is essentially elastic. The material is there: the practice will be in the photographer’s hand, the vision in his mind. One says this with some embarrassment but one cannot do less than claim vision if one is to ask for consideration.
“The photographing of America” is a large order - read at all literally, the phrase would be an absurdity. What I have in mind, then, is observation and record of what one naturalized American finds to see in the United States that signifies the kind of civilization born here and spreading elsewhere. Incidentally, it is fair to assume that when an observant American travels abroad his eye will see freshly; and that the reverse may be true when a European eye looks at the United States. I speak of the things that are there, anywhere and everywhere - easily found, not easily selected and interpreted. A small catalog comes to the mind’s eye: a town at night, a parking lot, a supermarket, a highway, the man who owns three cars and the man who owns none, the farmer and his children, a new house and a warped clapboard house, the dictation of taste, the dream of grandeur, advertising, neon lights, the faces of the leaders and the faces of the followers, gas tanks and postoffices and backyards.
The uses of my project would be sociological, historical and aesthetic. My total production will be voluminous, as is usually the case when the photographer works with miniature film. I intend to classify and annotate my work on the spot, as I proceed. Ultimately the file I shall make should be deposited in a collection such as the one in the Library of Congress. A more immediate use I have in mind is both book and magazine publication.”
Robert Frank (U.S.A., b. Switzerland 1924)
En route from New York to Washington, Club Car
1954
Gelatin silver print
Cantor Arts Center Collection, Gift of Raymond B. Gary
Robert Frank (U.S.A., b. Switzerland 1924)
Florida
1958
Gelatin silver print
Cantor Arts Center Collection, Gift of Raymond B. Gary
“I am grateful to the Guggenheim Foundation for their confidence and the provisions they made for me to work freely in my medium over a protracted period. When I applied for the Guggenheim Fellowship, I wrote: “To produce an authentic contemporary document, the visual impact should be such as will nullify explanation.”
With these photographs, I have attempted to show a cross-section of the American population. My effort was to express it simply and without confusion. The view is personal and, therefore, various facets of American life and society have been ignored. The photographs were taken during 1955 and 1956; for the most part in large cities such as Detroit, Chicago, Los Angeles, New York and in many other places during my Journey across the country. My book, containing these photographs, will be published in Paris by Robert Delpire, 1958.
I have been frequently accused of deliberately twisting subject matter to my point of view. Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. It is important to see what is invisible to others – perhaps the look of hope or the look of sadness. Also, it is always the instantaneous reaction to oneself that produces a photograph.
My photographs are not planned or composed in advance and I do not anticipate that the on-looker will share my viewpoint. However, I feel that if my photograph leaves an image on his mind – something has been accomplished.
It is a different state of affairs for me to be working on assignment for a magazine. It suggests to me the feeling of a hack writer or a commercial illustrator. Since I sense that my ideas, my mind and my eye are not creating the picture but that the editors’ minds and eyes will finally determine which of my pictures will be reproduced to suit the magazines’ purposes.
I have a genuine distrust and “mefiance” toward all group activities. Mass production of uninspired photojournalism and photography without thought becomes anonymous merchandise. The air becomes infected with the “smell” of photography. If the photographer wants to be an artist, his thoughts cannot be developed overnight at the corner drugstore.
I am not a pessimist, but looking at a contemporary picture magazine makes it difficult for me to speak about the advancement of photography, since photography today is accepted without question, and is also presumed to be understood by all – even children. I feel that only the integrity of the individual photographer can raise its level.
The work of two contemporary photographers, Bill Brandt of England and the American, Walker Evans, have influenced me. When I first looked at Walker Evans’ photographs, I thought of something Malraux wrote: “To transform destiny into awareness.” One is embarrassed to want so much for oneself. But, how else are you going to justify your failure and your effort?”
Robert Frank, U.S. Camera Annual, p. 115, 1958
Robert Frank (U.S.A., b. Switzerland 1924)
Lusk, Wyoming
1956
Gelatin silver print
Cantor Arts Center Collection, Gift of Raymond B. Gary
Robert Frank (U.S.A., b. Switzerland 1924)
Main Street – Savannah, Georgia
1955
Gelatin silver print
Cantor Arts Center Collection, Gift of Raymond B. Gary
Walker Evans
Downtown street, New Orleans
December 1935
Gelatin silver print
Robert Frank (U.S.A., b. Switzerland 1924)
New York City
1949
Gelatin silver print
Lent by Peter Steil
Robert Frank (U.S.A., b. Switzerland 1924)
New York City
early 1950s
Gelatin silver print
Cantor Arts Center Collection, Gift of Bowen H. McCoy
Cantor Arts Center at Stanford University
328 Lomita Drive at Museum Way
Stanford, CA 94305-5060
T: 650-723-4177
Opening hours:
Wednesday – Sunday 11 am – 5 pm
Thursday 11 am – 8 pm
Closed Monday and Tuesday
Cantor Arts Center at Stanford University website
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