Published by National Gallery Of Art, Washington/Steidl. Edited with text by Sarah Greenough. Text by Anne Wilkes Tucker, Stuart Alexander, Martin Gasser, Jeff Rosenheim, Michel Frizot, Luc Sante, Philip Brookman.
First published in France in 1958, then in the United States in 1959, Robert Frank's The Americans changed the course of twentieth-century photography.
Looking In: Robert Frank's "The Americans" celebrates the fiftieth anniversary of this prescient book. Drawing on newly examined archival sources, it provides a fascinating in-depth examination of the making of the photographs and the book's construction, using vintage contact sheets, work prints and letters that literally chart Frank's journey around the country on a Guggenheim grant in 1955–56. Curator and editor Sarah Greenough and her colleagues also explore the roots of The Americans in Frank's earlier books, which are abundantly illustrated here, and in books by photographers Walker Evans, Bill Brandt and others. The 83 original photographs from The Americans are presented in sequence in as near vintage prints as possible. The catalogue concludes with an examination of Frank's later reinterpretations and deconstructions of The Americans, bringing full circle the history of this resounding entry in the annals of photography. This volume is a reprint of the 2009 edition.
Tal Uf Tal Ab shows Robert Frank's life now, an inquisitive existence shaped by memory, and includes photographs of newsstands, streetscapes, friends, his wife June Leaf, interiors, as well as a self-portrait. Scattered among these images are earlier ones from Frank's past, for example a candid portrait of Jack Kerouac. As with all Frank's publications, Tal Uf Tal Ab is a humble yet important progression in the medium of the photo book.
In 1950, Robert Frank left his job as a photographer in New York to travel through Europe with his family. That summer he arrived in Valencia, Spain, which was at the time a humble, bleak place enduring the austere conditions of the postwar period like the rest of the country. The pictures Frank took of Valencia depict the daily life of a fishing village. His portrayal is so natural and clear that further verbal explanation seems superfluous; they simply reflect, in the photo grapher's words, "the humanity of the moment." The photographs in this book, many of which have never been published before, allow dignity to override poverty.
Published by Steidl. Edited with text by Peter Galassi.
Because of the importance of Robert Frank's The Americans; because he turned to filmmaking in 1959, the same year the book appeared in the United States; and because he made very different kinds of pictures when he returned to still photography in the 1970s, most of Frank's American work of the 1950s is poorly known. This book, based on the important Frank collection at the Cantor Arts Center at Stanford University, is the first to focus on that work. Its careful sequence of 131 plates integrates 22 photographs from The Americans with more than 100 unknown or unfamiliar images to chart the major themes and pictorial strategies of Frank's work in the United States in the 1950s. Peter Galassi's text presents a thorough reconsideration of Frank's first photographic career and examines in detail how he used the full range of photography's vital 35mm vocabulary to reclaim the medium's artistic tradition from the hegemony of the magazines.
In Partida, Robert Frank continues the journey through his archives, presenting us with a new series of images of friends, colleagues, interiors, of quiet still lives and snap shots of both ordinary and unexpected objects and situations. Frank's visual diaries constitute an important part of both his later work and the ongoing art of the photo book.
In August 1992 Robert Frank's good friend Reginald Rankin invited Frank on a trip to Pangnirtung, a village of around 1,300 Inuit inhabitants in the Arctic Circle. This book is Frank's documentation of the five-day sojourn. Frank depicts Pangnirtung void of its people: the still harbor, public housing, a convenience store, a telephone post. Sincere without being sentimental, the photos are shaped by a short text from Frank himself.
Household Inventory Record is a new installment in the series of Robert Frank's recent visual diaries. Composed of Polaroids, this slim volume continues the journey into Frank's world and his imagery, showing us snapshots from his travels, of his friends and everyday curiosities.
You Would is a sequel to Robert Frank's acclaimed Tal Uf Tal Ab of 2010. It contains recent images--some shot on 35 mm, others Polaroids--of Frank's friends, acquaintances and surroundings in New York and Mabou, Nova Scotia. In the book are also iconic images from earlier in Frank's career such as a photo of Delphine Seyrig and Larry Rivers on the set of Frank's 1959 film Pull My Daisy. This careful edit of new and old suggests that past experience tempers Frank's present, and shows that his life is not only recorded by book-making but shaped by it.
Following its acclaimed predecessors Tal Uf Tal Ab (2010) and You Would (2012), Park / Sleep is the third in the series of Robert Frank's late visual diaries. It takes up his familiar collage technique, combining new and old snapshots mainly of Frank's friends, family and home/studio, but also scenic and urban settings and interiors. The images are accompanied by short texts--notes, pieces of conversations, poems and thoughts.
In November of 1991 Robert Frank went to Beirut on a commission to photograph the city's devastated downtown in the aftermath of the Lebanese civil war (1975-1990). Much of the work he did there, together with that of five other photographers with whom he shared the assignment, was put together in Beirut City Centre by Editions du Cypres in 1992. Alongside that commissioned work, he also made Polaroids of the city and its environs, which, on his return home, he stowed away in his studio. It was only many years later that he considered those images again, and used them to create a sketchbook's worth of Polaroid collages. Come Again is a facsimile reprint of that notebook. In recent years Frank has worked almost exclusively with Polaroids, exploring the collage and assemblage possibilities of the instant photograph. Come Again, which comes as a sewn softcover in a paper bag, printed with special four-color matt inks and a Polaroid varnish, offers insight into the early stages of Frank's experimentation with the Polaroid and presents a previously unseen artist's book.
Published by Steidl. Contributions by Jack Kerouac, Allen Ginsberg, John Cohen.
Pull My Daisy is a collectable object containing Robert Frank's famous film of 1959 on DVD; a text booklet with an introduction, the transcript of the film and lyrics to the opening song; and a photo-magazine of on-set documentary photos by John Cohen. Pull My Daisy typifies the Beat Generation. Directed by Robert Frank and Alfred Leslie, the film was adapted by Jack Kerouac from the third act of a stage play he never finished entitled Beat Generation. Kerouac also provided improvised narration. It stars Allen Ginsberg, Gregory Corso, Larry Rivers, Peter Orlovsky, David Amram, Richard Bellamy, Alice Neel, Sally Gross and Pablo, Frank's then infant son. Based on an incident in the life of Neal Cassady and his wife Carolyn, the movie tells the story of a railway brakeman whose painter wife invites a respectable bishop over for dinner. However, the brakeman's bohemian friends crash the party, with comic results. Pull My Daisy was praised for years as an improvisational masterpiece, until Leslie revealed in 1968 that the film was actually carefully planned, rehearsed, and directed by him and Frank.
Published by Steidl/The Robert Frank Project. Edited by Ute Eskildsen. Text by Ute Eskildsen, Christoph Ribbat, Wolfgang Beilenhoff. Interview by Ute Eskildsen.
Originally published to coincide with Robert Frank's exhibition HOLD STILL_keep going at Germany's Museum Folkwang, Essen, in 2001, this book explores the filmic aspects of Frank's photography. The interaction between the still and moving image permeates Frank's oeuvre, from his early still photographs, to his concentration on filmmaking in the 1960s and his use of both thereafter. Adopting a non-chronological approach that juxtaposes work from a career spanning more than 60 years, this volume collects prints, film stills and collages, as well as sequences of still photography arranged like fragments from films. Frank's use of text is also crucial, both in his films (in the form of scripted and improvised dialogue), and through words handwritten on the photographs.
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