Posts Tagged ‘Robert Frank’

Robert Frank’s London

Friday, November 29th, 2019

I’ve long been an admirer of Robert Frank’s pictures taken in London, and you can see a fine selection of these in the feature Extraordinary Black And White Photographs Of London In The Early 1950s.

There are at least two videos paging through the book London Wales on You Tube, and I recommend that by Алексей Гуменюк only because I think he is a better page-turner, though his commentary and the sound track perhaps add a certain charm – but you can turn the sound off if it annoys you. Of course if you have read my earlier thoughts on the book or otherwise bought it you can turn the pages yourself. It’s better.

Frank’s London is a city (and City) long lost, with men in bowler hats and men carrying sacks of coal, both enshrouded by the pea-soupers which the coal produced (and in the second part of the book, he goes to photograph the men who mined it.)

Thankfully those days of almost solid air in London are long gone, though I can just remember them. But appearances are deceptive and London’s air is still toxic, leading to huge amounts of miserable illness and an estimated almost 10,000 early deaths each year, with levels of pollutants typically well above the EU legal limits in many streets and schoolyards.

The City too has changed, though still equally toxic. We no longer have an Empire – it had already begun to disappear when Frank coughed his way through those streets, but neo-colonialism has replaced colonialism, and many of the world’s most toxic companies – for example in mining – are still London based, and the City is the money laundering capital of the world.

A D Coleman on Frank

Monday, September 30th, 2019

Although A D Coleman wrote his “Robert Frank, a Retrospective: The Reluctant Reference Point” for his column in the New York Observer of December 4th 1995, it remains worth reading, and is included in his post Robert Frank (1924-2019): A Farewell on Photocritic International.

Among other things it includes a more sensitive and positive discussion of Frank’s later photographic work than I’ve given. I think I found it too annoying to give it proper consideration.

As well as Coleman’s thoughts, in the comments there is a link to an online version of the 1977 book ‘Photography Within the Humanities‘ where Frank’s April 1975 interview at Wellesley College was first published. The book is an interesting record of a series of talks when ten people connected with photography were each invited to the college on a different day to speak. Among the ten as well as Frank were John Morris, Paul Schuster Taylor the partner of Dorothea Lange, John Szarkowski, Gene Smith, Susan Sontag and Irving Penn.

Danny Lyon on Frank the man

Sunday, September 29th, 2019

” For all artists, there is a difference between the person and their work. “

Thus states Danny Lyon in the article ‘When Fathers Die: Remembering Robert Frank‘ on The New York Review of Books site. His piece is a very personal story of the man he lived with and worked with and who he says “brought integrity to an art riddled with compromise.”

I don’t think it makes me see any more – or less – in Frank’s pictures but I found it a fascinating read, a reminder of the very different times and lifestyle in which that work was produced.

Robert Frank: The Americans

Tuesday, September 17th, 2019

The final part of my essay on Robert Frank, written 20 years ago and published on the web in 2000 looks at his iconic book ‘The Americans’ which changed photography after its publication in 1958/9.

The discussion of the pictures and their sequencing owes a great deal to other photographers, including two whose workshops I attended in the 1990s, Charles Harbutt and Leonard Freed and many others, but I think I added a little of my own. I’ve come across parts of it on various web sites since it was put on the web, and I’m told it was widely plagiarised in student essays, at least in the years following its publication.


The Americans

The Americans‘ was turned down by New York publishers, but Frank took it to Delpire in France. There, Robert Delpire only persuaded the company to publish in 1958 by threatening to leave the family firm if they didn’t. The French edition was not entirely successful as a book, including texts by a number of well-known writers which had the effect of making the photographs seem like illustrations rather than a coherent work in their own right. The following year it was published by the Grove Press in America, in a form that respected Frank’s vision and which has been followed with minor revisions in later editions. Sales were poor and the reviews were vituperative, but the book has been republished in many editions and has I think been continuously in print.

The Grove Press edition had an introduction by Jack Kerouac, who Frank had recently met: ‘That crazy feeling in America when the sun is hot on the streets and music comes out of the jukebox 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)…’ Kerouac continued for five pages, showing a clear knowledge of Frank’s work and an understanding of what he was trying to do, concluding with some short sentiments which have been often been quoted, among them ‘Anybody doesn’t like these pitchers dont like potry. See?’ and his description ‘Robert Frank, Swiss, unobtrusive, nice with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the tragic poets of the world.’

The work starts with a picture of the front of a building, an American flag draped across its front and two windows, in each a person. Both are apparently female, though both are obscured. Taken during a parade at Hoboken, the bottom edge of the flag visually cuts off the head of the figure at the right, preventing us and her from seeing. On the next page, the City Fathers line up, probably for the same event, on a stand behind a rail with a flag pinned to it. Soberly dressed old men, hats and coats against the cold, the man at the back stands with eyes closed, apparently totally elsewhere in his thoughts as his lips pucker into a kiss.

Next on a balcony in Chicago, a demagogue raises both fists, arms outstretched, above a very bored looking sculptured head in a frieze below. Cut to a car park in a field in South Carolina, black men attending a black funeral, heads titled, hands to cheeks, lost in thought probably during an address. One man clearly has his eye on Frank, wondering what this white stranger is doing. Next to a rodeo in Detroit, a white man in a cowboy hat, in profile, smoking a cigar, hand also up to his face, behind him two women apparently subservient; we turn the page and a uniformed man is dragging a woman on his arm (probably his wife, though it almost looks like an arrest) along the street in Savannah. The uniform leads us to the doorway of a Navy Recruiting office, though which we see the flag on the wall and the end of a desk with two feet resting on it.

Already we begin to see some of the ways Frank is building a story, using montage – the recurring element of the flag, the orator followed by the listeners. A couple of other motifs have also been presented – the car and the American Dream, but have yet to reappear. Frank concentrates on the ordinary, the things you see on the road and along its edges, but he also deals with real issues, whether of race, as in the pictures of the black nurse with the white doll-like baby in Charleston, South Carolina or the trolley in New Orleans with whites at the front and blacks at the back, or spiritual emptiness in the ‘Merry Christmas’ signs at the fast food Ranch Market in Hollywood or the plastic crosses, ‘Remember your loved ones’ on sale for 69 cents. A petrol station forecourt, the pumps like figures in a religious procession, carrying a tall banner that says S A V E in heavy capitals. It takes a second look to see the lightly written G A S in the gaps.

Perhaps the two most famous of the pictures using the flag are from a Fourth of July celebration in New York, where the giant hanging flag is shown to be patched, torn and threadbare, and a of a man playing a tuba at a political rally, rendered anonymous, the bell of the instrument replacing his head, and growing out from this a pole with the flag spreading out. These pictures are used to start the second and third loose sections of Frank’s book – the first also starting with the flag.

We think back to the rodeo picture when we come to another vision of the Wild West, a bar in Gallup, New Mexico, taken from a low viewpoint, perhaps even shot appropriately from the hip. The picture is at an angle and slightly blurred, half obscured by the looming back of a man close to the camera. Across the bar a man stands alone and desperate, hands perhaps just in pockets or on his hips, but giving the suggestion of a gunfight that is ready to start. Later we see an immaculately dressed cowboy on the streets of New York, seated not on a horse but on the edge of a litter bin.

Another of the motifs, or in this case perhaps more of an icon, is the jukebox. It glows weirdly like an alien visitation in a New York bar, leers obscenely among apparently drugged kids in a Candy store. An ornate model dominates a wooden shack bar in Beaufort, South Carolina, with bare tables and chairs and a small black baby escaping from his mattress on the floor.

At Long Beach, California, Frank came across a car covered with a white cocoon in front of a low plain building with two palm trees. Here the car is clearly an altar, the trees forming the columns and roof tracings of a church dedicated to the Holy Motor Spirit; next we have the site of a car accident; a blanket covering some bodies at the edge of Route 66, four people in a line looking at the and a row of buildings back form the road; next a road in New Mexico stretching into the distance, its centre line absolutely vertical.

A woman needs on the banks of the Mississippi at dusk, her white robes contrasting with her black face; kneeling she holds a white cross. The next picture is captioned ‘St Francis, gas station and City Hall – Los Angeles, and St Francis is silhouetted in the foreground holding up a cross. Next come three crosses marking the site of a highway accident, lit by a shaft of sun from a cloudy sky. We get an assembly line at a car factory, followed by a political assembly line at a Chicago convention, a fine row of urinals and a black man cleaning the shoes of a white businessman in a men’s room…

I’m conscious of how much I’m not pointing out in these pictures; this is a book every photographer or anyone who wants to be a photographer should own. All eighty three of them are worth close study, although they work together to produce something much greater than their sum. Despite the mauling it received on publication – it showed a personal view of America and one that was distant and uncongenial to comfortable middle-class America who were, by and large, both the major cultural producers and consumers – and poor sales at the time, it has become a classic. It marked a new vision in photography, a shift in the paradigm, and, as often happens it took some getting used to. To modern eyes it is difficult to see how critics could fail to see the good points in Frank’s work – the irony, the capturing of the essence of the small towns on the road, and even the humour of some of his work. Students of photographic history will certainly also be amused by his deliberate introduction of references to other photographers, with at least one carefully taken ‘decisive moment’ and a couple of pictures that are pure FSA.

Of course the clearest stylistic reference is, as Tod Papageorge pointed out, in his ground-breaking ‘Walker Evans and Robert Frank – An essay on influence‘ to the work of his mentor, Walker Evans. The debt is at its strongest to Evans’s own work with a 35mm camera, particularly to his pictures of people on the streets, where there are many pictures which could well have been taken by Evans. As Papageorge points out, various aspects of the design of ‘The Americans’, not least its title, also clearly derive from Evan’s masterpiece, ‘American Photographs’.

Later Work

After ‘The Americans’, Frank turned most of his attention to film, although continuing to take some still pictures, despite stating later that in 1960 he decided to put his camera ‘in a closet‘. His first film in 1979 was the only film which allowed the beats to present themselves on screen, ‘Pull My Daisy’, starring poets Allen Ginsberg and Gregory Corso, artist Larry Rivers and musician David Amram. Kerouac contributed an act of his never completed play ‘The Beat Generation‘ as the screenplay and also appeared as a narrator. Better known is his controversial ‘Cocksucker Blues‘ about the Rolling Stones, though this was never commercially released, and probably more known about than actually viewed (there is a poor digital copy on YouTube.) Altogether he directed around twenty films, as well as acting in some, and being an editor and writer.

Frank’s photographic output was increasingly linked to the problems of his family, including the death of his daughter, Andrea, in a 1974 plane crash in Guatemala and his son Pablo’s mental illness. Increasingly his pictures were carefully constructed but also captioned with texts, often crudely scrawled or scratched on the images. There is a raw emotionalism and outpouring of grief that is sometimes hard to bear in such texts as ‘She was 21 years old and she lived in this house and I think of Andrea every day.

More recently he worked on a series of photographs of common tools and objects, referring back to the series produced by Walker Evans for ‘Fortune’ magazine when Frank was working as his assistant.


When I wrote this the only other widely available book of Frank’s photographs was The Lines of my Hand published in 1972 which included a range of his work but lacked the coherence of The Americans. In 2003 came London/Wales, and in 2008 a revised edition of The Americans with most images uncropped and some variants. In 2009 Looking In: Robert Frank’s The Americans, gave us scholarly essays with a great deal more information (and more pictures) about Frank and his work. From 2010 on Steidl published a series of half a dozen ‘Visual Diaries’ with photos from his early career together with the later more personal images. But despite all this, The Americans in its earlier editions stands out as the essential Robert Frank and the book that changed photography.

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.

Me, Kerouac and Frank

Sunday, September 15th, 2019

I can no longer remember what led me to the work of Jack Kerouac as a 15 or 16 year-old in an outer London suburb around 1960, though I think it was linked in some way with my addiction to jazz, and modern jazz in particular.

The old-fashioned Grammar School that I attended had a weekly lunchtime jazz record session for older pupils led by one of the younger staff and I became an avid fan, though it was a little later that I began to attend live music. But for several years the only record that I owned (and was very occasionally allowed to play on big sister’s record player) was the 1956 Esquire 7″ 45 rpm ‘The Mastery of Miles’, featuring The New Miles Davis Quintet, with Coltrane, Red Garland, Paul Chambers and Philly Jo Jones. I still have it.

I can remember the look of disgust on my Headmaster’s face as he presented my prize for distinction in academic work for the year 1961/2 (we were allowed to choose books to a certain value), the Grove Press edition of Jack Kerouac’s ‘Dr Sax‘. It was a look repeated the following year when he handed over ‘Big Sur‘, with in an Andre Deutsch edition, its cover image of a man clutching a wine bottle lying on a mattress taken looking between the soles of his footwear.

It was of course Kerouac who wrote the introduction to Robert Frank’s ‘The Americans’ (the first draft is here) although only after Frank had been disatisfied with an earlier introduction by Walker Evans – and Delpire rejected both for the initial French edition, including instead texts by various authors which perhaps seemed to relegate the pictures to illustrations.

It was around ten years later that I came across ‘The Americans‘, possibly at Leicester University where I took a short and basic course in photography as a part of a teacher training year. A year or so later I managed to borrow a copy on inter-Library loan and later still I bought my own copy, probably from the ‘Creative Camera’ book room.

I still have that copy of the 1978 Aperture edition, possibly the best of many, but also the huge 2009 volume of essays edited by Sarah Greenough, ‘Looking In: Robert Frank’s The Americans: Expanded Edition’, a book too heavy to read but which includes much previously unpublished material as well as the 83 pictures in the original.

Frank took almost 28,000 pictures during his travels across America, and in 1978 sold his archive to pay for making films and living expenses. You can see a few in a New York Times feature, and at the Danziger Gallery, which also includes some earlier and later work. Although in 1976 Frank wrote in his volume in the Aperture History of Photography series:

1960. Decide to put my camera in a closet. Enoug of observing and hunting and capturing (sometimes) the essence of what is black or what is good and where is God.
I make films. Now I have to talk to the people who move across my viewfinder. It isn’t easy nor particularly successful.”

and continues in the entry for 1969, “Camera still in closet”, this doesn’t appear to have been strictly true. But I think for most of us what really matters about his work, and what remains his huge contribution to photography are those 83.


I’ll continue with some of my old essay on Robert Frank shortly – unless like today my mind gets diverted!

Robert Frank – the Early Years

Friday, September 13th, 2019

My essay on Robert Frank started as my rather briefer teaching notes which I used with A Level and BTEC students in the 1980s and 90s which I later extended for publication in a photographer’s newsletter and then for a photography web site. Behind the first part of the essay was an attempt to show something of the sources of Frank’s inspiration in his photographic apprenticeship in Switzerland.

It amused me somewhat that many, particularly Americans seemed to treat Frank as an essentially American photographer, while to me it seemed to me that the strength of his vision came from the fact that he saw the country as a foreigner. Even though he had had longed to escape his native Switzerlandto find a new home in the States, his thinking was still from a European tradition – if one of which most Americans were unaware. So I began with an introduction about his early years and some of the influences on him.


Robert Frank was born in 1924 in Zurich, Switzerland; his parents were Jewish. He was part of a European generation most of whom fought in the Second World War, but Switzerland remained neutral; it was also a time when Jews across the border were being killed by the million. Although the German-speaking area of Switzerland was dominated by Nazis, freedom of speech and the freedom to create remained.

Frank learnt photography from a photographer who lived in the same block of flats as his family, Hermann Segesser. In 1942, at the age of 18, he was apprenticed to Hermann Eidenbenz and later worked for Michael Wolgensinger in Zurich. Wolgensinger (1913-90) had learnt photography from Johannes Meiner in Zurich before attending Hans Finsler’s classes at the Zurich School of Commercial Art and becoming Finsler’s assistant from 1935-7. Both taught Frank to use large format cameras and controlled lighting in the studio. Following this, Frank worked for a short time for a film company in Zurich, Gloria Films. Wolgensinger later also worked with experimental and commercial film – including ‘Metamorphose ‘ – and colour installations.

The young Frank was impressed by Paul Senn’s pictures of Spanish refugees, as well as by the resolutely Swiss pictures of Jacob Tuggener. Although Tuggener was right wing and conservative in his views, the ‘beatnik’ bohemian Frank admired both his work and his artistic intransigence. He compares Tuggener to the famous Swiss national hero, William Tell – Tuggener’s work was Switzerland seen totally without sentimentality. Frank was also impressed by the way he used his photographs in sequences – particularly in his book of factory photographs, ‘Fabrik‘, creating something like a film.

Montage was a term and technique developed particularly by the great early Russian film directors, Eisenstein – in ‘Strike’, ‘The General Line’ and ‘The Battleship Potemkin’ – and Pudovkin in ‘The End of St Petersburg’ and elsewhere. Pudovkin tried to analyse its use in his book ‘Film Technique’ where he states that montage is the foundation of film art. He set out five techniques of montage:

  • contrast – where for example the plight of a starving man is heightened by following it with a scene of a feast;
  • parallelism – which extends contrast by inter-cutting the scenes;
  • similarity – which makes use of similar content – as when Eisenstein cuts from strikers being shot to an ox being slaughtered in an abbatoir in the finale of ‘Strike’;
  • synchronism – which involves cutting between events happening at the same time – will the hero rescue the helpless female from the track before she is hit by the fast–approaching locomotive;
  • recurrent theme (Leitmotiv) – a recurring image or scene.

Although this schema was extended greatly by Timoshenko and usefully extended and clarified by Rudolf Arnheim in his ‘Film as Art‘ – still a useful resource for both the study of film and for photographers – it has the merit of simplicity.

Tuggener was not of course the first to sequence photographs with some care. One of the strengths of the great editors of the illustrated magazines of the 1920s and 30s such as Stefan Lorant was their skill in photographic layout. However in general this was largely a matter of linking photographs to a narrative line, often corresponding to a temporal sequence. Lorant also often worked with pairs of pictures as a contrast, often humorous, seen at its most obvious in the magazine ‘Liliput‘. Bill Brandt, the great British photographer of the 1930s-50s, was also adept at sequencing, for example in his book ‘A Night in London‘ (1938), where a temporal structure is used.

Tuggener’s approach in ‘Fabrik’ and other projects was more radical in its use of montage, making use in particular of contrast, similarity and leitmotiv. It represented a decisive move away from viewing the single photograph as the photographic work to seeing it in terms of the whole series of pictures.

By 1946, Frank was photographing on the streets of Zurich with a 35mm rangefinder camera, developing his own style. He was learning to use the camera in a fluid and intuitive manner, trying to capture his impressions spontaneously rather than to calculate and impose a composition on them.


More of my essay on Frank in a later post.

Frank dies

Thursday, September 12th, 2019

Robert Frank whose book ‘The Americans‘ shook up photography when published in 1958 (and 1959 in the USA) died Monday, 9th November 2019. Born on 9 November 1924 in Zürich, Switzerland, he was 94. Frank was clearly one of the truly great photographers of the 20th century.

Studying that book changed photography for many of us, though many like me came to it rather late, though not long after I took up photography in the 1970s. As well as the direct influence there was also the work of a whole generation of photographers that were influenced by it, notably for me Friedlander and Winogrand. If you are a photographer you will probably already own a well-thumbed copy of ‘The Americans‘; if not, rush out and buy one.

In his Vanity Fair article written in 2008 about Frank’s visit to China, Charlie Leduff decribed the book as “his artistic albatross of sorts” and for many of us it stood head and shoulders above his earlier and later work.  It seemed to be a definitive statement that left him little or nothing to say.

Frank went on to make a number of films, of which the best known and almost certainly least seen is the 1969-1972 ‘Cocksucker Blues‘ of the Rolling Stones, never commercially released but which you can watch on YouTube. It’s a remarkably intimate film which epitomises sex, drugs and rock ‘n’ roll and was rather too extreme for the image that the Stones wanted to make public. The sound track includes some great music but much of the speech is for various reasons unclear and if you are not a fan of the music and the musicians the film is difficult to watch other than as a document of that particular age and time.

Some of his other films are more conventional, and perhaps for that reason less interesting. Again for fans of the beats, ‘Pull My Daisy‘ (1959) is required viewing. Directed by Robert Frank and Alfred Leslie and adapted by Jack Kerouac from an act of his play Beat Generation, it has an improvised narration by Kerouac and among others stars Allen Ginsberg, Peter Orlovsky, Gregory Corso, Larry Rivers, Alice Neel and David Amram.

Perhaps the best of the obits I’ve so far read is unsurprisingly in the New York Times, but The Guardian is also worth reading, and there a brief note on the BBC web page, and many more.

There are many obituaries of Robert Frank, and I don’t intend to write another, though I’ve previously written about him and his work at some length, though these pieces are not currently available on the web. Since this is no longer available, I’ll revise and post it, or at least some of the more interesting parts of it over the next few days.