Posts Tagged ‘New York’

Frank continued (part 2)

Monday, September 16th, 2019

Here is the second of three parts of my longish essay about Robert Frank, certainly the greatest influence on other photographers including myself in the years that followed publication of his book ‘The Americans’ in 1958/9. The final and I think most interesting part, in which I take a look at that book in some detail will follow shortly.


New York and Travel

As soon as he possibly could, in 1947, Frank left Switzerland and moved to New York. Art director Alexey Brodovitch encouraged Frank to photograph for Harper’s Bazaar and other fashion magazines. Frank soon found fashion restricting and also contributed to “Life”, “Look”, “Fortune”, “McCall’s”, and “The New York Times”.

Frank also began to travel, coming back to Europe in 1951, where he photographed in mining villages in Wales and in London, as well as photographing in South America for a book including work by Swiss photographer Werner Bischof and the French photographer Pierre Verger who devoted more than half of his life to the study, promotion, and practice of Afro-Brazilian culture.

In Wales he took a powerful if slightly predictable close view of a miner coming back from the pit, blackened by coal. It is a powerful portrait, the cheery face beneath a cloth cap heightened by contrast with the broader out of focus miner in the left of the frame. His picture of children playing on the slag heap, and of a miner at home scrubbing himself in a zinc bath while his wife sits at the table reading the newspaper are vibrant reminders of vanished times, and were surely informed by pictures from the 1930s of similar scenes taken by Bill Brandt.

In London too he was drawn to the stereotype, but rendered it in a personal and interesting fashion; men in bowlers and top hats stroll through the fog of city streets, carrying umbrellas. There are also some odd moments and places – a dog in a foggy street, an angel peering over a wall, mothers (or nannies) struggling with giant wrapped babies and prams in the park, bombsites and hearses.

Back in New York in 1953, Frank began to work with Edward Steichen in selecting work for an exhibition on ‘Post-War European Photographers’ at the Museum of Modern Art, and later on ‘The Family of Man’, although as Frank says, he did not share the ‘Captain’s’ sentimental vision behind this. Frank took Steichen to visit the studio of Jacob Tuggener among other photographers, and his work was included in the exhibition.

American Influences

Meanwhile, Frank had discovered another of the elements that was to influence him greatly, Walker Evan’s seminal book ‘American Photographs‘. Again this was a carefully and subtly sequenced work, with picture linking visually to picture and recurring themes. Evans possibly drew his ideas about sequencing more from literary than film sources. Frank took his work to show Evans, who was impressed; it was Evans who was the major support behind Frank when he successfully applied for a Guggenheim Grant to make a journey across America taking photographs.

A further influence on Frank was also largely literary (although at that time derided by the literary establishment.) This was the ‘beat generation’ – writers and poets such as Jack Kerouac, Allen Ginsberg and Lawrence Ferlinghetti.

Kerouac had written ‘On the Road‘, his second book, using a single long roll of paper in his typewriter so he could let his stream of thought flow out through its keys to paper without interruption, without pausing to think or editing. The book is based around a series of four largely pointless journeys by Kerouac (Sal Paradise), driving across America with or to visit his friend ‘Dean Moriaty’, whose wild behaviour and unreliability are legendary.

Written in 1950, Kerouac’s publisher turned it down, and it did not appear until 1957. Frank was probably not familiar with the detailed text, but certainly was aware of the movement and had met some of the principals including Ginsberg in the early fifties before his own road trip around America, and in his attitudes and view of America he echoed those of the beats.

On the Road

Frank’s journeys across America were however rather less frenetic than Kerouac’s and fuelled more by his experiences than drugs. Much of the the time he was accompanied by his wife and son who both appear in the final image of the finished book. Throughout 1955/6 he crossed America, driving a second-hand car given him by Peggy Guggenheim, shooting around 500 rolls of film, photographing on the streets and in post offices, Woolworth stores, cafés, small hotels, bus stations.

He started work early in the mornings and usually continued all day. He seldom talked to people and usually tried not to be noticed while he was photographing, though his subjects in some pictures are clearly reacting to his camera – and not always positively. After his travels he edited the roughly 18,000 images down to the 83 which appear in his book, on average around one from every six films.

The journeys were not without problems, particularly when he was arrested and held in jail for 3 days in Little Rock, Arkansas. A police officer saw a Ford with New York plates being driven by a badly dressed and dishevelled Frank; he stopped the car and spoke to him and discovered not only did he have a strongly foreign accent, but saw that there were several cameras and other boxes and bags in the car. Clearly this was a spy, and that he had a piece of paper with something about Guggenheim on it (another foreign name) made circumstances even more suspicious.

So Frank was arrested and left in jail for around seven hours before being subjected to a series of interrogations for another four hours. This was at the height of the cold war and McCarthyism, and the police were totally unable to understand what Frank was trying to do. Why was anyone photographing America other than to supply information to a foreign power? Every possible point in his papers and his attempted explanations was fuel to their paranoia –the name Brodovitch – one of his Guggenheim sponsors – was clearly Russian, one of his children was called Pablo – a foreign name, he had marked routes on his maps and so on.

Fortunately Frank was able to persuade them not to have any of his films developed locally as they had threatened to. When they asked him if he knew anyone in politics or the police or similar, he told them he knew Steichen, and that his wife’s uncle was a close friend of Mayor Wagner of New York.

What concerned Frank most after he had been released was that his fingerprints had been taken and sent to the FBI; he was worried that this might prejudice his application for American citizenship.


The final piece of this essay, first published on the web in 2000, will appear shortly and looks at the content of ‘The Americans’ and then concludes with a very brief section on his later work.

The Falling Man

Wednesday, September 11th, 2019

Most if not all of us remember what we were doing when we heard about the tragic attack on the World Trade Center in New York on 9/11, the 11th of September 2001.

I was just getting my bicycle ready to leave college after a morning’s teaching – I was then working part-time and had finished for the day – when a distraught colleague rushed up to me to tell me the news. She had grown up in New York, and had just seen pictures on her computer showing a plane flying into one of the towers. We shared our horror at what was happening, and watched for short time together unable to beleive what was happening.

After a few minutes I left her and got on my bike and cycled home. I couldn’t eat lunch but began to search for more information on the web, finding both the pictures on the news channels and also a number of posts of mobile phone pictures and video taken by those close to the events, including some making their way out of the building. It was these pictures, with their rawness, often blurred and indistinct that really brought home the horror to me, and I sat and wrote an article linking to them and to some of the professional imagery.

I don’t know that it was a very good article, but I clearly saw the event not only as a terrible act of terrorism, but also as a clear indication of the power of ‘citizen journalism’, perhaps the first major world event where the story was told and illustrated most immediately and effectively by those caught up in the tragedy rather than profesional journalists. And it was a story that attracted around a million views in the next 24 hours or so.

Of course we soon saw a great deal of fine coverage from the professionals, particulalry of the later stages of the event, but these lacked the rawness and immediacy of those first acounts – which their technical shortcomings emphasized (as does the grain and shakiness of Capas D-Day pictures).

Esquire Magazine has published a long and very interesting feature about the photographs of people who fell from the burning towers, and in particular the ‘Falling Man’ captured in a series of images taken by photographer Richard Drew. Originally published on the front pages, it quickly became the subject of controversy, and disappeared from view except on some insalubrious web sites. As the feature reveals, it caused considerable distress among at least one family of a man who died and was apparently wrongly identified as the man in the picture.

The story by Tom Junod is an interesting one, which also raises many issues about the use of these and other photographs, and about what photographs can tell us about what they depict. He concludes that this image of one of the perhaps 200 men who jumped from the upper stories of the WTC rather than await the death that seemed inevitable is of the man who “became the Unknown Soldier in a war whose end we have not yet seen.