Posts Tagged ‘Political Rally Chicago

24
Jul
22

Exhibition: ‘In Focus: Sound’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 28th June – 2nd October 2022

Curator: Karen Hellman, assistant curator in the Department of Photographs.

 

 

Maker unknown (American) 'Phonograph Demonstration' about 1900-1905

 

Maker unknown (American)
Phonograph Demonstration
about 1900-1905
Gelatin silver print
27 × 37.1cm (10 5/8 × 14 5/8 in)
Getty Museum

 

 

“Sometimes theory leads to an over determination. Something is gained but at a price. Finding images that evoke a sound can only be saved by paying the higher price of remembering how images look when their sound is removed.”

~ Ian Lobb

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From my knowledge of photography, I have added further images that I can hear … but not in the exhibition that I know of. You may like to recall other photographs that you could include in the exhibition.

Dr Marcus Bunyan

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Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Though photographs are silent, photographers have long conjured sound in their images. Whether depicting crowded urban spaces, musicians performing, people engaged in conversations, or even more abstract depictions of sound, the pictures in this exhibition show photography’s power to communicate beyond the visual. The images date from the 19th century to the recent past, and in each, the audible plays as much of a role as the visual. As you look at these photographs, you are invited to imagine what you might “hear” as well.

Text from the J. Paul Getty Museum website

 

 

Florence Henri (American, 1893-1982) 'Columbia Records' 1931

 

Florence Henri (American, 1893-1982)
Columbia Records
1931
Gelatin silver print
24.8 × 39.1cm (9 3/4 × 15 3/8 in)
Getty Museum
© Martini & Ronchetti, courtesy Archives Florence Henri

 

Gjon Mili (American born Albania, 1904-1984) 'Tap Dancer, September 29, 1949' 1949

 

Gjon Mili (American born Albania, 1904-1984)
Tap Dancer, September 29, 1949
1949
Gelatin silver print
33.8 × 26cm (13 5/16 × 10 1/4 in)
Getty Museum
© Gjon Mili / The LIFE Picture Collection / Shutterstock

 

 

Photographs may be silent, but photographers have long conjured sound in their images.

Whether depicting crowded urban spaces, musicians performing, or people engaged in conversation, the pictures in this exhibition prove photography’s power to communicate beyond the visual.

Drawn from Getty’s permanent collection, In Focus: Sound, on view June 28 through September 2, 2022, unites two sensory perceptions – sight and sound – in photographs that record the visual while also imitating the audible.

“Photography and sound have more in common than one might expect,” says Karen Hellman, curator of the exhibition. “Photographs can evoke a sensory perception that they cannot actually depict. Looking at photographs while thinking about sound could provide a new way of viewing and appreciating photography.”

The 19th century saw a keen scientific and philosophical interest in reproducing ephemeral phenomena. This led to the development of the photograph as well as the phonograph. This interlinked history perhaps explains photography’s connection to sound and why photographers, even subconsciously, have endeavoured to picture it. In each image in this exhibition, which date from the 19th century to the recent past, the audible plays as much of a role as the visual.

This exhibition includes works by known and lesser-known makers from the 19th century to the recent past, including Julia Margaret Cameron, Walker Evans, Man Ray, Graciela Iturbide, Marco Breuer, Naoya Hatakeyama, and Christian Marclay.

In Focus: Sound will be on view June 28 through September 2, 2022, at the Getty Center.

Text from the J. Paul Getty Museum website

 

Naoya Hatakeyama (Japanese, b. 1958) 'Blast #0608' 1995

 

Naoya Hatakeyama (Japanese, b. 1958)
Blast #0608
1995
Chromogenic print
Getty Museum
Gift of James N. and Susan A. Phillips
© Naoya Hatakeyama

 

Man Ray (American, 1890-1976) 'Record' 1933

 

Man Ray (American, 1890-1976)
Record
1933
Gelatin silver print
28.9 × 22.5cm (11 3/8 × 8 7/8 in)
Getty Museum
© Man Ray Trust ARS-ADAGP

 

Albert Harlingue (French,1879-1963) 'Abbot Rousselot's Collection of Tuning Forks' about 1924

 

Albert Harlingue (French,1879-1963)
Abbot Rousselot’s Collection of Tuning Forks
about 1924
Gelatin silver print
17.9 × 12.7cm (7 1/16 × 5 in)
Getty Museum

 

Julia Margaret Cameron (British born India,1815-1879) 'The Echo' 1868

 

Julia Margaret Cameron (British born India,1815-1879)
The Echo
1868
Albumen silver print
27.1 × 22.7cm (10 11/16 × 8 15/16 in)
Getty Museum

 

Milton Rogovin (American,1909-2011) 'Storefront Churches' 1958-1961

 

Milton Rogovin (American,1909-2011)
Storefront Churches
1958-1961
Gelatin silver print
12.5 × 12cm (4 15/16 × 4 3/4 in.)
Getty Museum
Gift of Dr. John V. and Laura M. Knaus
© Milton Rogovin

 

Carrie Mae Weems (American, b. 1953) 'Untitled (Musical Score of "God Bless the Child")' 1995

 

Carrie Mae Weems (American, b. 1953)
Untitled (Musical Score of “God Bless the Child”)
1995
From the series From Here I Saw What Happened and I Cried
Chromogenic print with sandblasted musical notations on frame glass
45.6 × 45.6cm (17 15/16 × 17 15/16 in)
Getty Museum
Gift of Mary and Dan Solomon in honour of Weston Naef
© Carrie Mae Weems

 

Will Connell (American, 1898-1961) 'Sound' 1936

 

Will Connell (American, 1898-1961)
Sound
1936
Gelatin silver print
34.2 × 26.7cm (13 7/16 × 10 1/2 in)
Getty Museum
Gift of Trish and Jan de Bont
© Will Connell

 

Lisette Model (American born Austria, 1901-1983) '[Singer, Sammy's Bar, New York]' about 1940-1944

 

Lisette Model (American born Austria, 1901-1983)
[Singer, Sammy’s Bar, New York]
about 1940-1944
Gelatin silver print
Getty Museum
© Estate of Lisette Model, courtesy of Baudoin Lebon/Keitelman

 

 

“Bowery old-timers claim her voice has had no match for power and ferocity since Maggie Cline used to stun with “Knock ‘Em Down McCloskey”.”

The uncredited text, referring to this photograph of the bar singer known as “Tillie,” accompanied a group of Lisette Model’s photographs made at Sammy’s Bar that were reproduced in the September 1994 Harper’s Bazaar magazine. Taken from below and at a slight diagonal angle, the image captures the vitality and vibrancy of the performer belting it out on the stage at Sammy’s, a local favourite in the Bowery district of New York, also visited by photographers Weegee and Diane Arbus. The angle from which the photograph was made also emphasises the gleaming microphone, which seem to rise up to meet the challenge of projecting Tillie’s already powerful voice.

Text from the J. Paul Getty app

 

Ralph Eugene Meatyard (American, 1925-1972) 'Untitled ("Motion-Sound" Landscape)' Negative 1969

 

Ralph Eugene Meatyard (American, 1925-1972)
Untitled (“Motion-Sound” Landscape)
Negative 1969, printed 1974
Gelatin silver print
Gift of Weston J. and Mary M. Naef
©  Estate of Ralph Eugene Meatyard

 

Christian Marclay (American-Swiss, b. 1955) 'Untitled (Death)' 2020

 

Christian Marclay (American-Swiss, b. 1955)
Untitled (Death)
2020
Chromogenic print
Courtesy of the artist, and Fraenkel Gallery, San Francisco
© Christian Marclay

 

 

Further images that I can hear … but not in the exhibition that I know of

Tracey Moffatt (Australian, b. 1960) 'The Movie Star (David Gulpilil)' 1985

 

Tracey Moffatt (Australian, b. 1960)
The Movie Star (David Gulpilil)
1985
Type C photograph on paper
Image: 50.7 x 77.3cm
Frame: 74.5 x 99.0cm
Gift of the artist 1998. Donated through the Australian Government’s Cultural Gifts Program
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
© Tracey Moffatt

 

Marion Kalter (Austrian, b. 1951) 'John Cage chez Dorothea Tanning, Paris' 1979

 

Marion Kalter (Austrian, b. 1951)
John Cage chez Dorothea Tanning, Paris

 

Larry Fink (American, b. 1941) 'Studio 54' 1977

 

Larry Fink (American, b. 1941)
Studio 54, New York City
May 1977
Silver gelatin print

 

Alfred Stieglitz (American, 1864-1946) 'Songs of the Sky' 1924

 

Alfred Stieglitz (American, 1864-1946)
Songs of the Sky
1924
Gelatin silver print

 

 

Alfred Stieglitz (American, 1864-1946)
Songs of the Sky
1924
Gelatin silver print

 

Eva Besnyö (Dutch, 1910-2003) 'Boy With Cello, Balaton, Hungary' 1931

 

Eva Besnyö (Dutch, 1910-2003)
Boy With Cello, Balaton, Hungary
1931
Gelatin silver print
42.5 x 39.2cm (16.7 x 15.4 in)

 

Arnold Newman (American, 1918-2006) 'Igor Stravinsky' 1945

 

Arnold Newman (American, 1918-2006)
Igor Stravinsky
1945
Gelatin silver contact sheet

 

Santu Mofokeng (South African, b. 1956) 'Opening Song, Hand Clapping and Bells' 1986

 

Santu Mofokeng (South African, b. 1956)
Opening Song, Hand Clapping and Bells
1986
From the series Train Church
Gelatin silver print
Image: 19 x 28.5cm

 

Minor White (American, 1908-1976) 'The Sound of One Hand Clapping, Pultneyville, New York' 1957

 

Minor White (American, 1908-1976)
The Sound of One Hand Clapping, Pultneyville, New York
1957
Gelatin silver print
24.4 x 25.1cm (9 5/8 x 9 7/8 in.)
Purchased in part with funds provided by Daniel Greenberg, Susan Steinhauser, and the Greenberg Foundation
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Eugène Atget (French, 1857-1927) 'Street diversions (or B organ)' 1898-99

 

Eugène Atget (French, 1857-1927)
Street diversions (or B organ)
1898-1899
Albumen print

 

Walker Evans. 'Church Organ and Pews' 1936

 

Walker Evans (Walker Evans, 1903-1975)
Church Organ and Pews
1936
Gelatin silver print

 

Robert Frank. 'Bar, Las Vegas' 1955-56

 

Robert Frank (Swiss-American, 1924-2019)
Bar, Las Vegas
1955-1956
Gelatin silver print

 

Robert Frank (Swiss-American, 1924-2019) 'Political Rally, Chicago' 1956

 

Robert Frank (Swiss-American, 1924-2019)
Political Rally, Chicago
1956
Gelatin silver print
35.1 x 23.7cm (13 13/16 x 9 5/16 in)

 

André Kertész (Hungarian, 1894-1985) 'Cellist' 1916

 

André Kertész (Hungarian, 1894-1985)
Cellist
1916
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Violoniste ambulant, Abony' (Traveling violinist, Abony) 1921

 

André Kertész (Hungarian, 1894-1985)
Violoniste ambulant, Abony
Traveling violinist, Abony
1921
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Eiffel Tower, Summer Storm' 1927

 

André Kertész (Hungarian, 1894-1985)
Eiffel Tower, Summer Storm
1927
Gelatin silver print

 

Platt D Babbitt. 'Niagara Falls from the American side' whole plate daguerreotype c.1855

 

Platt D Babbitt (American, 1822-1879)
Niagara Falls from the American side
c. 1855
Whole plate daguerreotype

 

Platt D. Babbitt. '[Scene at Niagara Falls]' c. 1855

 

Platt D Babbitt (American, 1822-1879)
[Scene at Niagara Falls]
c. 1855
Daguerreotype

 

Platt D. Babbitt. 'Niagara Falls', c. 1860

 

Platt D Babbitt (American, 1822-1879)
Niagara Falls
c. 1860
Daguerreotype

 

Henri Huet (French, 1927-1971)/AP ''Life' magazine photographer Larry Burrows (far left) struggles through elephant grass and the rotor wash of an American evacuation helicopter as he helps GIs carry a wounded soldier on a stretcher from the jungle to the chopper in Mimot, Cambodia' 4 May 1970

 

Henri Huet (French, 1927-1971)/AP
‘Life’ magazine photographer Larry Burrows (far left) struggles through elephant grass and the rotor wash of an American evacuation helicopter as he helps GIs carry a wounded soldier on a stretcher from the jungle to the chopper in Mimot, Cambodia
4 May 1970
Gelatin silver print

 

Henri Huet, French (1927-1971) 'The body of an American paratrooper killed in action in the jungle near the Cambodian border is raised up to an evacuation helicopter, Vietnam' 1966

 

Henri Huet (French, 1927-1971)
The body of an American paratrooper killed in action in the jungle near the Cambodian border is raised up to an evacuation helicopter, Vietnam
1966
Gelatin silver print

 

James Barnor (Ghanian, b. 1929) 'E. K. Nyame, the legendary Ghanaian musician, photographed for a record cover, Accra' c. 1975

 

James Barnor (Ghanian, b. 1929)
E. K. Nyame, the legendary Ghanaian musician, photographed for a record cover, Accra
c. 1975
Gelatin silver print

 

 

Roger Scott (Australian, b. 1944)
Ghost train
1972
Gelatin silver print

 

Diane Arbus. ‘The House of Horrors’ 1961

 

Diane Arbus (American, 1923-1971)
The House of Horrors
1961
Gelatin silver print

 

Diane Arbus (American, 1923-1971) 'A child crying, N.J.' 1967

 

Diane Arbus (American, 1923-1971)
A child crying, N.J.
1967
Gelatin silver print

 

Stephen Shore (American, b. 1947) 'Lookout Hotel, Ogunquit, Maine, July 16, 1974'

 

Stephen Shore (American, b. 1947)
Lookout Hotel, Ogunquit, Maine, July 16, 1974
1974
Chromogenic colour print, printed 2013
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of an anonymous donor
© 2017 Stephen Shore

 

Gordon Parks (American, 1912-2006) 'Shooting Victim in Cook County Morgue, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Shooting Victim in Cook County Morgue, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Robert H. Jackson (American, born 1934) 'FATAL BULLET HITS OSWALD. Jack Ruby fires bullet point blank into the body of Lee Harvey Oswald at Dallas Police Station. Oswald grimaces in agony' November 24, 1963

 

Robert H. Jackson (American, born 1934)
FATAL BULLET HITS OSWALD. Jack Ruby fires bullet point blank into the body of Lee Harvey Oswald at Dallas Police Station. Oswald grimaces in agony
November 24, 1963

 

Robert H. Jackson (American, b. 1934) 'Jack Ruby (52) shoots Lee Harvey Oswald (24) 24 November 1963' 1963

 

Robert H. Jackson (American, b. 1934)
Jack Ruby (52) shoots Lee Harvey Oswald (24)
24 November 1963

 

 

Originally published in the Dallas Times Herald, November 25, 1963. Cropped from the source image to the portion that was published in 1963. Winner of the 1964 Pulitzer Prize for Photography.

 

Unknown photographer. 'Survivors of the atomic bomb attack of Nagasaki walk through the destruction as fire rages in the background Aug. 9 1945'

 

Unknown photographer
Survivors of the atomic bomb attack of Nagasaki walk through the destruction as fire rages in the background Aug. 9 1945
1945

 

John Williams (1933- 2016) 'Open Air Shower, Bronte Beach' 1964

 

John Williams (Australian, 1933-2016)
Open Air Shower, Bronte Beach
1964
Gelatin silver print

 

Dorothea Lange (American, 1895-1965) 'Man Stepping from Cable Car, San Francisco' 1956

 

Dorothea Lange (American, 1895-1965)
Man Stepping from Cable Car, San Francisco
1956
Gelatin silver print

 

Ansel Adams (American, 1902-1984) 'Upper Yosemite Fall' 1946

 

Ansel Adams (American, 1902-1984)
Upper Yosemite Fall
1946
Gelatin silver print

 

Ansel Adams (American, 1902-1984) 'Nevada Fall Profile' 1946

 

Ansel Adams (American, 1902-1984)
Nevada Fall Profile
1946
Gelatin silver print

 

 

Kaho Yu (Australian)
Untitled from the series Infinitesimal Residual Vibration of An Unknown Sound
2009-2011

 

 

Kaho Yu (Australian)
Untitled from the series Infinitesimal Residual Vibration of An Unknown Sound
2009-2011

 

 

The photographs in this series were taken during a period when I was feeling existentially bored. Instead of distracting myself with activities and accumulating new sensations, I decided to “look” at boredom, to study, and perhaps to understand it. The most natural strategy was to observe the immediate environments where my daily activities take place – train stations, cubicles, copy machines room, etc. I carried a medium format camera on a tripod and spent the odd hours wandering alone through those familiar spaces.

My “study” did not lead me to any revelation or answer. Instead, I found myself spending a lot of time waiting in a long silence, between the opening and the closing of the camera shutter.

Charles Babbage, a scientist in 1837, postulated that every voice and sound, once imparted on the air particles, does not dissipate but remains in the diffused movements of all the particles in the atmosphere. Thus, there might one day come a person equipped with the right mathematical knowledge of these motions who will be able to capture the infinitesimal vibrations and to trace back to their ultimate source.

Taking a long exposure, letting the light slowly accumulate an image on the celluloid surface, to me, is not unlike a sound seeker searching in the air particles, for the tiny residual movements that have been conveyed through the history of mankind, from the beginning of time.

Kaho Yu artist statement

 

… i listen to the wind that obliterates my traces

 

 

 

… i listen to the wind that obliterates my traces brings together a collection of early photographs related to music, a group of 78rpm recordings, and short excerpts from various literary sources that are contemporary with the sound and images. It is a somewhat intuitive gathering, culled from artist Steve Roden’s collection of thousands of vernacular photographs related to music, sound, and listening. The subjects range from the PT Barnum-esque Professor McRea – “Ontario’s Musical Wonder” (pictured with his complex sculptural one man band contraption) – to anonymous African-American guitar players and images of early phonographs. The images range from professional portraits to ethereal, accidental, double exposures – and include a range of photographic print processes, such as tintypes, ambrotypes, cdvs, cabinet cards, real photo postcards, albumen prints, and turn-of-the-century snapshots.

The two CDs display a variety of recordings, including one-off amateur recordings, regular commercial releases, and early sound effects records. there is no narrative structure to the book, but the collision of literary quotes (Hamsun, Lagarkvist, Wordsworth, Nabokov, etc.). Recordings and images conspire towards a consistent mood that is anchored by the book’s title, which binds such disparate things as an early recording of an American cowboy ballad, a poem by a Swedish Nobel laureate, a recording of crickets created artificially, and an image of an itinerant anonymous woman sitting in a field, playing a guitar. The book also contains an essay by Roden.

Text from the Dust to Digital website Nd [Online] Cited 23/07/2022. Published by Dust-to-Digital, 2011. The book is out of stock but available on Abe.com website.

 

'... i listen to the wind that obliterates my traces' book cover (2011)

 

… i listen to the wind that obliterates my traces book cover (2011)

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

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The J. Paul Getty Museum website

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08
Mar
09

Exhibition: ‘Looking In: Robert Frank’s The Americans’ at The National Gallery of Art, Washington

Exhibition dates: National Gallery of Art, January 18 – April 26, 2009; San Francisco Museum of Modern Art, May 16 – August 23, 2009; Metropolitan Museum of Art, September 22 – December 27, 2009

 

Robert Frank 'The Americans' New York: Grove Press 1959 front cover

Robert Frank 'The Americans' New York: Grove Press 1959 back cover

 

Robert Frank (Swiss, 1924-2019)
The Americans
New York: Grove Press
1959

 

 

One of the seminal photography books of the twentieth century, Robert Frank’s The Americans changed photography forever, changed how America saw itself and became a cult classic. Like Eugene Atget’s positioning of the camera in an earlier generation Frank’s use of camera position is unique; his grainy and contrasty images add to his outsider vision of a bleak America; his sequencing of the images, like the cadences of the greatest music, masterful. One of the easiest things for an artist to do is to create one memorable image, perhaps even a group of 4 or 5 images that ‘hang’ together – but to create a narrative of 83 images that radically alter the landscape of both photography and country is, undoubtedly, a magnificent achievement.

The photographs in the posting appear by number order that they appear in the book.

Dr Marcus Bunyan

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Many thankx to the National Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Released at the height of the Cold War, The Americans was initially reviled, even decried as anti-American. Yet during the 1960s, many of the issues that Frank had addressed – racism, dissatisfaction with political leaders, skepticism about a rising consumer culture – erupted into the collective consciousness. The book came to be regarded as both prescient and revolutionary and soon was embraced with a cult-like following.

First published in France in 1958 and in the United States in 1959, Robert Frank’s The Americans is widely celebrated as the most important photography book since World War II. Including 83 photographs made largely in 1955 and 1956 while Frank (1924-2019) travelled around the United States, the book looked beneath the surface of American life to reveal a profound sense of alienation, angst, and loneliness. With these prophetic photographs, Frank redefined the icons of America, noting that cars, jukeboxes, gas stations, diners, and even the road itself were telling symbols of contemporary life. Frank’s style – seemingly loose, casual compositions, with often rough, blurred, out-of-focus foregrounds and tilted horizons – was just as controversial and influential as his subject matter. The exhibition celebrates the 50th anniversary of the book’s publication by presenting all 83 photographs from The Americans in the order established by the book, and by providing a detailed examination of the book’s roots in Frank’s earlier work, its construction, and its impact on his later art.

Text from The National Gallery of Art website [Online] Cited 06/03/2009 (no longer available online)

 

 

Robert Frank Americans 1 'Parade - Hoboken, New Jersey' 1955

 

Robert Frank (Swiss, 1924-2019)
Americans 1
Parade – Hoboken, New Jersey
1955
Gelatin silver print
Image: 21.3 x 32.4cm (8 3/8 x 12 3/4 in.)
Private collection, San Francisco
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'City Fathers - Hoboken, New Jersey'

 

Robert Frank (Swiss, 1924-2019)
Americans 2
City fathers – Hoboken, New Jersey
1955
Gelatin silver print
Image: 41.9 x 57.8cm (16 1/2 x 22 3/4 in.)
Susan and Peter MacGill
Photograph © Robert Frank, from The Americans

 

Robert Frank. Americans 3. 'Political Rally - Chicago' 1956

 

Robert Frank (Swiss, 1924-2019)
Americans 3
Political Rally – Chicago
1956
Gelatin silver print
Image and sheet: 57.8 x 39.4cm (22 3/4 x 15 1/2 in.)
Susan and Peter MacGill
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'Funeral, St. Helena, South Carolina' 1955-56

 

Robert Frank (Swiss, 1924-2019)
Americans 4
Funeral – St. Helena, South Carolina
1955
Gelatin silver print
Image and sheet: 39.7 x 58.1cm (15 5/8 x 22 7/8 in.)
Susan and Peter MacGill
Photograph © Robert Frank, from The Americans

 

 

“The photos revealed a bleaker, more dislocated view of America than Americans were used to (at least in photography). Frank’s “in-between moments” demonstrated that disequilibrium can seem more revealing, seeming to catch reality off-guard. In doing so the collection also announced to the world that photos with a completely objective reference/referent could be subjective, lyrical, reveal a state-of-mind. Looser framing, more forced or odd juxtapositions, “drive-by” photos and other elements offer a sense of the process that has produced the photos”

Lloyd Spencer on Discussing The Americans in Hardcore Street Photography

I couldn’t have put it better myself!

 

Robert Frank. 'Charleston, South Carolina' 1955

 

Robert Frank (Swiss, 1924-2019)
Americans 13
Charleston, South Carolina
1955
Gelatin silver print
Image: 41.3 x 59.1cm (16 1/4 x 23 1/4 in.)
Susan and Peter MacGill
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'Ranch Market, Hollywood' 1955-56

 

Robert Frank (Swiss, 1924-2019)
Americans 14
Ranch Market – Hollywood
1956
Gelatin silver print
Image: 31.4 x 48.3cm (12 3/8 x 19 in.)
Danielle and David Ganek
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'Butte, Montana' 1955-56

 

Robert Frank (Swiss, 1924-2019)
Americans 15
Butte, Montana
1956
Gelatin silver print
Overall: 20 x 30.2cm (7 7/8 x 11 7/8 in.)
The Museum of Modern Art, New York, Acquired through the generosity of the Young family in honour of Robert B. Menschel, 2003
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'Trolley - New Orleans' 1955

 

Robert Frank (Swiss, 1924-2019)
Americans 18
Trolley – New Orleans
1955
Gelatin silver print
Image: 40.6 x 57.8cm (16 x 22 3/4 in.)
Susan and Peter MacGill
Photograph © Robert Frank, from The Americans

 

Robert Frank. Contact sheets for 'The Americans'

 

Robert Frank (Swiss, 1924-2019)
Contact sheets for The Americans
Photograph © Robert Frank, from The Americans

 

 

“Frank’s contact sheets take us back to the moment he made the photographs for The Americans. They show us what he saw as he traveled around The United States and how he responded to it. These sheets are not carefully crafted objects; in his eagerness to see what he had captured, Frank did not bother to order his film strips numerically or even to orientate them all in the same direction.”

 

Robert Frank. Sequencing of 'The Americans' numbers 32- 36

 

Robert Frank (Swiss, 1924-2019)
Sequencing of
The Americans numbers 32-36
Photograph © Robert Frank, from The Americans

 

 

“Almost halfway through the book Frank created a sequence united by the visual repetition of the car and the suggestion of its movement.”

 

Robert Frank. Americans 32 'U.S. 91, Leaving Blackfoot, Idaho' 1956

 

Robert Frank (Swiss, 1924-2019)
Americans 32
U.S. 91, Leaving Blackfoot, Idaho
1956
Gelatin silver print
Image: 28.9 x 42.2cm (11 3/8 x 16 5/8 in.)
Collection of Barbara and Eugene Schwartz
Photograph © Robert Frank, from The Americans

 

Robert Frank (American, born Switzerland, 1924) Americans 33 'St. Petersburg, Florida' 1955

 

Robert Frank (Swiss, 1924-2019)
Americans 33
St. Petersburg, Florida
1955
Gelatin silver print
Sheet: 22.2 x 33.7cm (8 3/4 x 13 1/4 in.)
Collection of Barbara and Eugene Schwartz
Photograph © Robert Frank, from The Americans

 

Robert Frank Americans 34 'Covered Car - Long Beach, California' 1956

 

Robert Frank (Swiss, 1924-2019)
Americans 34
Covered Car – Long Beach, California
1956
Gelatin silver print
Image: 21.4 x 32.7cm (8 7/16 x 12 7/8 in.)
Lent by The Metropolitan Museum of Art, Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'Car accident, US 66 between Winslow and Flagstaff, Arizona' 1955-56

 

Robert Frank (Swiss, 1924-2019)
Americans 35
Car accident, US 66 between Winslow and Flagstaff, Arizona
1955-1956
Gelatin silver print
Image: 31 x 47.5cm (12 3/16 x 18 11/16 in.)
Philadelphia Museum of Art, Promised gift of Susan and Peter MacGill in honour of Anne d’Harnoncourt
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'U.S. 285, New Mexico' 1955

 

Robert Frank (Swiss, 1924-2019)
Americans 36
U.S. 285, New Mexico
1955
Gelatin silver print
Image: 33.7 x 21.9cm (13 1/4 x 8 5/8 in.)
Mark Kelman, New York
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'Bar, Detroit' 1955-56

 

Robert Frank (Swiss, 1924-2019)
Americans 37
Bar – Detroit
1955
Gelatin silver print
Overall: 39.4 x 57.8cm (15 1/2 x 22 3/4 in.)
Sherry and Alan Koppel
Photograph © Robert Frank, from The Americans

 

 

The 50th anniversary of a groundbreaking publication will be celebrated in the nation’s capital with the exhibition Looking In: Robert Frank’s The Americans, premiering January 18 through April 26, 2009, in the National Gallery of Art’s West Building ground floor galleries. In 1955 and 1956, the Swiss-born American photographer Robert Frank (b. 1924) traveled across the United States to photograph, as he wrote, “the kind of civilisation born here and spreading elsewhere.” The result of his journey was The Americans, a book that looked beneath the surface of American life to reveal a culture on the brink of massive social upheaval and one that changed the course of 20th-century photography.

First published in France in 1958 and in the United States in 1959, The Americans remains the single most important book of photographs published since World War II. The exhibition will examine both Frank’s process in creating the photographs and the book by presenting 150 photographs, including all of the images from The Americans, as well as 17 books, 15 manuscripts, and 28 contact sheets. In honour of the exhibition, Frank has created a film and participated in selecting and assembling three large collages. The exhibition will travel to the San Francisco Museum of Modern Art from May 17 through August 23, 2009, and The Metropolitan Museum of Art from September 22 through December 27, 2009.

The Americans is as powerful and provocative today as it was 50 years ago,” said Earl A. Powell III, director, National Gallery of Art. “We are immensely grateful to Robert Frank and his wife, June Leaf, for their enthusiastic participation and assistance in all aspects of this exhibition and its equally ambitious catalogue. We also wish to thank Robert Frank for his donation of archival material related to The Americans, in addition to gifts of his photographs and other exhibition prints to the National Gallery of Art in 1990, 1994, and 1996, all of which formed the foundation of the project.”

Press release from the National Gallery of Art

 

Robert Frank. 'Elevator - Miami Beach' 1955

 

Robert Frank (Swiss, 1924-2019)
Americans 44
Elevator – Miami Beach
1955
Gelatin silver print
Image: 31.4 x 47.8cm (12 3/8 x 18 13/16 in.)
Philadelphia Museum of Art, Purchased with funds contributed by Dorothy Norman, 1969
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'Assembly line, Detroit' 1955-56

 

Robert Frank (Swiss, 1924-2019)
Americans 50
Assembly line – Detroit
1955
Gelatin silver print
21.4 x 32.1cm (8 7/16 x 12 5/8 in.)
The Museum of Modern Art, New York, Purchase, 1959
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'Convention hall, Chicago' 1956

 

Robert Frank (Swiss, 1924-2019)
Americans 51
Convention hall – Chicago
1956
Gelatin silver print
Image: 22.5 x 34.1cm (8 7/8 x 13 7/16 in.)
Addison Gallery of American Art, Phillips Academy, Andover, Museum Purchase
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'Beaufort, South Carolina' 1955-56

 

Robert Frank (Swiss, 1924-2019)
Americans 55
Beaufort, South Carolina
1955
Gelatin silver print
Image and sheet: 31.1 x 47.6cm (12 1/4 x 18 3/4 in.)
Private collection
Photograph © Robert Frank, from The Americans

 

 

Robert Frank (Swiss, 1924-2019)
Americans 58
Political rally – Chicago
1956
Gelatin silver print
Image: 59.1 x 36.5cm (23 1/4 x 14 3/8 in.)
Betsy Karel
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'Coffee Shop Railway Station' 1955-56

 

Robert Frank (Swiss, 1924-2019)
Americans 70
Coffee shop, railway station – Indianapolis
1956
Gelatin silver print
Overall (image): 22.9 x 34.6cm (9 x 13 5/8 in.)
The Museum of Modern Art, New York, Acquired through the generosity of Carol and David Appel, 2003
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'Chattanooga, Tennessee' 1955-56

 

Robert Frank (Swiss, 1924-2019)
Americans 71
Chattanooga, Tennessee
1955
Gelatin silver print
Image: 20.8 x 29.5cm (8 3/16 x 11 5/8 in.)
Private collection
Photograph © Robert Frank, from The Americans

 

 

“It’s hard to stress how different The Americans was. Over the course of those 83 pictures – shot from Detroit to San Francisco to Chattanooga, Tennessee – Frank captured the country in images that were intentionally unglamorous. On a technical level, he brazenly tossed out an adherence to traditional ideas of composition, framing, focus, and exposure.”

Sarah Greenough, Senior Curator of Photography at the National Gallery of Art in Washington

 

Robert Frank. 'Belle Isle, Detroit' 1955

 

Robert Frank (Swiss, 1924-2019)
Americans 73
Belle Isle – Detroit
1955
Gelatin silver print
Sheet: 29.2 x 42.5cm (11 1/2 x 16 3/4 in.)
Collection of Barbara and Eugene Schwartz
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'City Hall, Reno, Nevada' 1956

 

Robert Frank (Swiss, 1924-2019)
Americans 81
City Hall – Reno, Nevada
1956
Gelatin silver print
Image: 20.3 x 32.4cm (8 x 12 3/4 in.)
Private collection
Photograph © Robert Frank, from The Americans

 

Robert Frank. 'US 90 on route to Del Rio, Texas' 1955-56

 

Robert Frank (Swiss, 1924-2019)
Americans 83
U.S. 90, en route to Del Rio, Texas
1955
Gelatin silver print
Image (and board): 47.6 x 31.1cm (18 3/4 x 12 1/4 in.)
Private collection, courtesy Hamiltons Gallery, London
Photograph © Robert Frank, from The Americans

 

 

National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Daily 10.00am – 5.00pm

National Gallery of Art website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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