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Robert Frank

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For other people named Robert Frank, seeRobert Frank (disambiguation).

Robert Frank
Born(1924-11-09)November 9, 1924
Zürich,Switzerland
DiedSeptember 9, 2019(2019-09-09)(aged 94)
Inverness,Cape Breton,Nova Scotia,Canada
NationalitySwiss-American
Known forPhotography, film directing
Notable workThe Americans
Spouse(s)Mary Frank(divorced)
June Leaf
Children2

Robert Frank(November 9, 1924 – September 9, 2019) was aSwiss Americanphotographeranddocumentary filmmaker.His most notable work, the 1958 book titledThe Americans,earned Frank comparisons to a modern-dayde Tocquevillefor his fresh and nuanced outsider's view of American society. CriticSean O'Hagan,writing inThe Guardianin 2014, saidThe 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."[1]Frank later expanded into film and video and experimented with manipulating photographs and photomontage.[2]

Background and early photography career

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Frank was born in Zürich, Switzerland, the son of Rosa (Zucker) and Hermann Frank. His family wasJewish.[3]Robert states in Gerald Fox's 2004 documentaryLeaving Home, Coming Home: A Portrait of Robert Frankthat his mother, Rosa (other sources state her name as Regina), had a Swiss passport, while his father, Hermann originating from Frankfurt, Germany had become stateless after losing his German citizenship as a Jew.[4]They had to apply for the Swiss citizenship of Robert and his older brother, Manfred. Though Frank and his family remained safe in Switzerland during World War II, the threat ofNazismnonetheless affected his understanding of oppression. He turned to photography, in part as a means to escape the confines of his business-oriented family and home, and trained under a few photographers and graphic designers before he created his first hand-made book of photographs,40 Fotos,in 1946.[5]Frank emigrated to the United States in 1947, and secured a job in New York City as afashion photographerforHarper's Bazaar.[6][5]

In 1949, the new editor ofCameramagazine, Walter Laubli (1902–1991), published a substantial portfolio ofJakob Tuggenerpictures made at upper-class entertainments and in factories, alongside the work of the 25 year-old Frank who had just returned to his native Switzerland after two years abroad, with pages including some of his first pictures from New York. The magazine promoted the two as representatives of the 'new photography' of Switzerland.[7]

Tuggener was a role model for the younger artist, first mentioned to him by Frank's Boss and mentor, Zurich commercial photographer Michael Wolgensinger (1913–1990) who understood that Frank was unsuited to the more mercenary application of the medium. Tuggener, as a serious artist who had left the commercial world behind, was the "one Frank really did love, from among all Swiss photographers," according to Guido Magnaguagno andFabrik,as a photo book, was a model for Frank's Les Américains ('The Americans') published ten years later inParisby Delpire, in 1958.[8]

He soon left to travel in South America and Europe. He created another hand-made book of photographs that he shot in Peru, and returned to the U.S. in 1950. That year was momentous for Frank, who, after meetingEdward Steichen,participated in the group show51 American Photographersat theMuseum of Modern Art(MoMA); he also married fellow artistMary Frank(née Lockspeiser), with whom he had two children, Andrea and Pablo.[9]

Though he was initially optimistic about the United States' society and culture, Frank's perspective quickly changed as he confronted the fast pace of American life and what he saw as an overemphasis on money. He now saw America as an often bleak and lonely place, a perspective that became evident in his later photography. Frank's own dissatisfaction with the control that editors exercised over his work also undoubtedly colored his experience. He continued to travel, moving his family briefly to Paris.[5]In 1953, he returned to New York and continued to work as a freelancephotojournalistfor magazines includingMcCall's,Vogue,andFortune.Associating with other contemporary photographers such asSaul LeiterandDiane Arbus,he helped form what Jane Livingston has termed The New York School of photographers (not to be confused with the New York School of art) during the 1940s and 1950s.[5]

In 1955, Frank achieved further recognition with the inclusion byEdward Steichenof seven of his photographs (many more than most other contributors) in the world-touringMuseum of Modern ArtexhibitionThe Family of Manthat was to be seen by 9 million visitors and with a popular catalogue that is still in print.[10]Frank's contributions had been taken in Spain (of a woman kissing her swaddled babe-in-arms); of a bowed old woman in Peru; a rheumy-eyed miner in Wales; and the others in England and the US, including two (one atypically soft-focus) of his wife in pregnancy; and one (later to be included inThe Americans) of six laughing women in the window of the White Tower Hamburger Stand on Fourteenth Street, New York City.[11]

The Americans

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Main article:The Americans (photography)

Inspired by fellow SwissJakob Tuggener's 1943 filmic bookFabrik,[12]Bill Brandt'sThe English at Home(1936),[13]andWalker Evans'sAmerican Photographs[14](1938),[15]and on the recommendation of Evans (a previous recipient),[16]Alexey Brodovitch,Alexander Leiberman,Edward Steichen, andMeyer Schapiro,[11]Frank secured aGuggenheim Fellowshipfrom theJohn Simon Guggenheim Memorial Foundation[17]in 1955 to travel across the United States and photograph all strata of its society. Cities he visited includedDetroitandDearborn, Michigan;Savannah, Georgia;Miami BeachandSt. Petersburg, Florida;New Orleans,Louisiana;Houston,Texas;Los Angeles,California;Reno, Nevada;Salt Lake City, Utah;Butte, Montana;andChicago,Illinois.[18]He took his family along with him for part of his series ofroad tripsover the next two years, during which time he took 28,000 shots. 83 of these were selected by him for publication inThe Americans.[19]

Frank's journey was not without incident. He later recalled the anti-Semitism to which he was subject in a small Arkansas town. "I remember the guy [policeman] took me into the police station, and he sat there and put his feet on the table. It came out that I was Jewish because I had a letter from the Guggenheim Foundation. They really were primitive." He was told by the sheriff, "Well, we have to get somebody who speaks Yiddish."... "They wanted to make a thing out of it. It was the only time it happened on the trip. They put me in jail. It was scary. Nobody knew where I was."[20]Elsewhere in theSouth,he was told by a sheriff that he had "an hour to leave town." Those incidents may have contributed to the dark view of America found in the work.[21]

Shortly after returning to New York in 1957, Frank metBeatwriterJack Kerouac"at a New York party where poets and Beatniks were," and showed him the photographs from his travels.[19]However, according toJoyce Johnson,Kerouac's lover at the time, she met Frank while waiting for Kerouac to emerge from a conference with his editors, at Viking Press, looked at Frank's portfolio, and introduced them to each other.[22]Kerouac immediately told Frank, "Sure I can write something about these pictures." He eventually contributed the introduction to the U.S. edition ofThe Americans.Frank also became lifelong friends withAllen Ginsberg,and was one of the main visual artists to document the Beat subculture, which felt an affinity with Frank's interest in documenting 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.[19]

This divergence from contemporary photographic standards gave Frank difficulty at first in securing an American publisher.Les Américainswas first published in 1958 byRobert Delpirein Paris, as part of itsEncyclopédie Essentielleseries, with texts bySimone de Beauvoir,Erskine Caldwell,William Faulkner,Henry MillerandJohn Steinbeckthat Delpire positioned opposite Frank's photographs.[23]It was finally published in 1959 in the United States, without the texts, byGrove Press,where it initially received substantial criticism.Popular Photography,for one, derided his images as "meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness." Though sales were also poor at first, the fact that the introduction was by the popular Kerouac helped it reach a larger audience. Over time and through its inspiration of later artists,The Americansbecame a seminal work in American photography andart history,and is the work with which Frank is most clearly identified. Critic Sean O'Hagan, writing inThe Guardianin 2014, said "it is impossible to imagine photography's recent past and overwhelmingly confusing present without his lingeringly pervasive presence." and thatThe 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."[1]

In 1961, Frank received his first individual show, entitledRobert Frank: Photographer,at theArt Institute of Chicago.He also showed at theMuseum of Modern Artin New York in 1962.[24]

The French JournalLes Cahiers de la photographiedevoted special issues 11 and 12 in 1983 to discussion of Robert Frank as a gesture of admiration for, and complicity with, his work, also to set forth his critical capacity as an artist.

To mark the fiftieth anniversary of the first publication ofThe Americans,a new edition was released worldwide on May 30, 2008.[25]For this new edition fromSteidl,most photographs are uncropped (in contrast to the cropped versions in previous editions), and two photographs are replaced with those of the same subject but from an alternate perspective.[26][27]

A celebratory exhibit ofThe Americans,titledLooking In: Robert Frank's The Americans,was displayed in 2009 at theNational Gallery of Artin Washington, D.C., theSan Francisco Museum of Modern Art(SFMOMA), and at theMetropolitan Museum of Artin New York.[28]The second section of the four-section, 2009, SFMOMA[29]exhibition displays Frank's original application to the John Simon Guggenheim Memorial Foundation (which funded the primary work onThe Americansproject), along with vintage contact sheets, letters to photographer Walker Evans and author Jack Kerouac, and two early manuscript versions of Kerouac's introduction to the book. Also exhibited were three collages (made from more than 115 original rough work prints) that were assembled under Frank's supervision in 2007 and 2008, revealing his intended themes as well as his first rounds of image selection. An accompanying book, also titledLooking In: Robert Frank's The Americans,was published,[21]the most in-depth examination of any photography book ever, at 528 pages. While working as a guard at the Metropolitan Museum of Art,Jason Eskenaziasked other noted photographers visiting theLooking Inexhibition to choose their favorite image fromThe Americansand explain their choice, resulting in the book,By the Glow of the Jukebox: The Americans List.[30]

Films

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By the timeThe Americanswas published in the United States in 1959, Frank had moved away from photography to concentrate on filmmaking. Among his films was the 1959Pull My Daisy,which was written and narrated by Kerouac and starred Ginsberg,Gregory Corsoand others from the Beat circle. The Beats emphasized spontaneity, and the film conveyed the quality of having been thrown together or even improvised.[19]Pull My Daisywas accordingly praised for years as an improvisational masterpiece, until Frank's co-director,Alfred Leslie,revealed in a November 28, 1968 article in theVillage Voicethat the film was actually carefully planned, rehearsed, and directed by him and Frank, who shot the film with professional lighting.[31]

In 1960, Frank was staying inPopartistGeorge Segal's basement while filmingThe Sin of Jesuswith a grant from Walter K. Gutman.Isaac Babel's story was transformed to center on a woman working on a chicken farm inNew Jersey.It was originally supposed to be filmed in six weeks in and aroundNew Brunswick,but Frank ended up shooting for six months.

Frank's 1972 documentary of theRolling Stones,Cocksucker Blues,is arguably his best known film. The film shows the Stones on tour, engaging in heavy drug use andgroup sex.Frank said of the Stones, "It was great to watch them — the excitement. But my job was after the show. What I was photographing was a kind of boredom. It's so difficult being famous. It's a horrendous life. Everyone wants to get something from you."[19]Mick Jaggerreportedly told Frank, "It's a fucking good film, Robert, but if it shows in America we'll never be allowed in the country again." The Stones sued to prevent the film's release, and it was disputed whether Frank as the artist or the Stones as those who hired the artist owned thecopyright.A court order restricted the film to being shown no more than five times per year, and only in the presence of Frank.[32]Frank's photography also appeared on the cover of the Rolling Stones' albumExile on Main St..[33]

Other films by Frank includeMe and My Brother,Keep Busy,andCandy Mountain(the last was co-directed withRudy Wurlitzer).[34][35]

Later life and death

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Though Frank continued to be interested in film and video, he returned to still images in the 1970s, publishing his second photographic book,The Lines of My Hand,in 1972. This work has been described as a "visual autobiography", and consists largely of personal photographs. However, he largely gave up "straight" photography to instead create narratives out of constructed images andcollages,incorporating words and multiple frames of images that were directly scratched and distorted on the negatives. None of this later work has achieved an impact comparable to that ofThe Americans.As some critics have pointed out, this is perhaps because Frank began playing with constructed images more than a decade afterRobert Rauschenbergintroduced his silkscreen composites—in contrast toThe Americans,Frank's later images simply were not beyond the pale of accepted technique and practice by that time.[36]

Frank and Mary separated in 1969.[37]He remarried, to sculptorJune Leaf,and in 1971, moved to the community ofMabou, Nova ScotiainCape Breton Island,Nova Scotiain Canada.[37]In 1974, his daughter, Andrea, was killed in a plane crash in Tikal,Guatemala.Also around this time, his son, Pablo, was first hospitalized and diagnosed withschizophrenia.Much of Frank's subsequent work dealt with the impact of the loss of both his daughter and subsequently his son, who died in anAllentown, Pennsylvaniahospital in 1994. In 1995, in memory of his daughter he founded the Andrea Frank Foundation, which provides grants to artists.[5]

After his move to Nova Scotia, Canada, Frank divided his time between his home there, in a former fisherman's shack on the coast, and hisBleecker Streetloft in New York. He acquired a reputation for being a recluse (particularly since the death of Andrea), declining most interviews and public appearances. He continued to accept eclectic assignments, however, such as photographing the 1984Democratic National Convention,and directingmusic videosfor artists such asNew Order( "Run" ), andPatti Smith( "Summer Cannibals"). Frank produced both films and still images, and helped organize several retrospectives of his art. His work has been represented byPace/MacGill Galleryin New York since 1984.[38]In 1994, the National Gallery of Art inWashington, D.C.presented the most comprehensive retrospective of Frank's work to date, entitledMoving Out.[39]

Frank died on September 9, 2019, at his home in Nova Scotia.[40][41]

Publications

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Publications by Frank

[edit]
  • Les Américains=The Americans
    • Paris: Delpire, 1958. French. Includes text in French by Simone de Beauvoir, Erskine Caldwell, William Faulkner, Henry Miller and John Steinbeck about American political and social history, selected byAlain Bosquet.Part of the Encyclopédie Essentielle series.
    • New York: Grove Press, 1959. Introduction by Jack Kerouac.
    • New York:Aperture;Museum of Modern Art, 1969. Revised and enlarged edition. With an introduction by Jack Kerouac, a brief introduction by Frank, and a survey of Frank's films, each represented by a page of film frame stills.
    • Göttingen: Steidl, 2008.ISBN978-3-86521-584-0.Most photographs are uncropped compared with cropped versions in previous editions, and two photographs are replaced with those of the same subject but from an alternate perspective.
  • The Lines of my Hand.
    • Tokyo: Yugensha. Deluxe, slipcased edition. Edition of 1000 copies, 500 featured the slipcase photograph of "New York City, 1948", 500 featured the slipcase photograph of "Platte River, Tennessee".
    • New York: Lustrum Press, 1972. Paperback.
    • New York:Pantheon.ISBN9780394552552.
  • Flower is…Yugensha, 1987. Edition of 1000 copies, 500 featured "Champs-Élysées, 1950 [Fleurs]" tipped onto the front cover, 500 featured "Metro Stalingrad" tipped onto the front cover.
  • Flamingo.Göteborg, Sweden: Hasselblad Center, 1997.ISBN9783931141554.Catalogue for Hasselblad Award exhibition, Hasselblad Center, Goteborg, Sweden.
  • London/Wales.Published in collaboration with theCorcoran Gallery,Washington, D.C., for an exhibition held May 10 – July 14, 2003.
  • Come Again.Göttingen: Steidl, 2006.ISBN9783865212610.According to the back cover, "Photos have been taken within the context of the photographical project 'Beirut, city centre, 1991', Éditions de Cyprès, Paris."
  • Paris.Göttingen: Steidl, 2006.ISBN978-3865215246.
  • Peru.Göttingen: Steidl, 2006.ISBN978-3865216922.
  • Zero Mostel Reads a Book.Göttingen: Steidl, 2006.ISBN978-3865215864.
  • Tal Uf Tal Ab.Göttingen: Steidl, 2010.ISBN978-3869301013.The first of the "Visual Diaries" combining photos from Frank's early career with the more private pictures he made in the latter part of his life. Other titles in the series are marked with a *
  • Pangnirtung.Göttingen: Steidl, 2011.ISBN978-3869301983.
  • Pull My Daisy.Göttingen: Steidl, 2011.ISBN978-3865216731.A transcript of Kerouac's narration from the film Pull My Daisy (1959) with film stills and an introduction by Jerry Tallmer.
  • Ferne Nähe: Hommage für Robert Walser=Distant Closeness: A Tribute to Robert Walser.Bern: Robert Walser-Zentrum, 2012.ISBN978-3-9523586-2-7.
  • You Would.Göttingen: Steidl, 2012.ISBN978-3869304182.*
  • Park/Sleep.Göttingen: Steidl, 2013.ISBN978-3869305851.*
  • Partida.Göttingen: Steidl, 2014.ISBN978-3869307954.*
  • What We Have Seen.Göttingen: Steidl, 2016.ISBN978-3958290952.*
  • Leon of Juda.Göttingen: Steidl, 2017.ISBN978-3958293113.*
  • Good Days Quiet.Göttingen: Steidl, 2019.ISBN978-3-95829-550-6.

Critical studies, reviews and biographies

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Films

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Filmography

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List of films
Year Name Notes
1959 Pull My Daisy withAlfred Leslie.Adapted from aJack Kerouacplay, starringAllen Ginsberg.[31]
1961 The Sin of Jesus [46]
1963 O.K. End Here [47]
1965/1968 Me and My Brother A film about Julius Orlovsky (Peter Orlovsky's brother) and his mental illness.[34]
1969 Conversations in Vermont [48][49]
1969 Life-Raft Earth [50]
1971 About Me: A Musical [51]
1972 Cocksucker Blues controversial film about theRolling Stones'1972 tour.[32]
1975 Keep Busy withRudy Wurlitzer.[52][53]
1980 Life Dances On [54][55]
1981 Energy and How to Get It withRudy Wurlitzer.[56]
1983 This Song For Jack [57]
1985 Home Improvements [58]
1988 Candy Mountain withRudy Wurlitzer.[35]
1989 Hunter [59]
1990 C'est vrai! (One Hour) [60]
1992 Last Supper [61]
1994 Moving Pictures [62][63]
2002 Paper Route [64]
2004/2008 True Story (Kurzfilm)[de] [65]

Awards

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References

[edit]
  1. ^abO'Hagan, Sean(November 7, 2014)."Robert Frank at 90: the photographer who revealed America won't look back".The Guardian.RetrievedDecember 27,2014.
  2. ^Gefter, Philip (September 10, 2019)."Robert Frank Dies; Pivotal Documentary Photographer Was 94".The New York Times.RetrievedSeptember 10,2019.
  3. ^Warren, Lynne (2006).Encyclopedia of Twentieth-century Photography.Routledge.ISBN978-1-57958-393-4.
  4. ^Documentary film,Leaving Home, Coming Home: A Portrait of Robert Frank.Produced and Directed by Gerald Fox. 2004. Greenwich Entertainment.
  5. ^abcdeWarren, Lynne (2005).Encyclopedia of Twentieth-Century Photography, 3-Volume Set.Routledge.ISBN978-1-135-20536-2.RetrievedSeptember 11,2019.
  6. ^"Influential photographer Robert Frank dies at 94".BBC News.September 10, 2019.RetrievedSeptember 12,2019– via bbc.co.uk.
  7. ^Smith, R. J. (November 7, 2017).American Witness: The Art and Life of Robert Frank.Hachette Books. p. 104.ISBN978-0-306-82337-4.
  8. ^Smith, R. J. (2017),American witness: the art and life of Robert Frank(First ed.), Da Capo Press,ISBN978-0-306-82336-7
  9. ^Woodward, Richard B. (September 4, 1994)."Where Have You Gone, Robert Frank?".The New York Times.ISSN0362-4331.RetrievedJanuary 4,2018.
  10. ^Steichen, Edward; Sandburg, Carl; Norman, Dorothy (1955). Mason, Jerry (ed.).The family of man: the photographic exhibition.Steichen, Edward (organizer); Lionni, Leo (book designer); Stoller, Ezra (photographer). Published for the Museum of Modern Art by Simon and Schuster in collaboration with the Maco Magazine Corporation.
  11. ^abDay, Jonathan; Frank, Robert (2011),Robert Frank's The Americans: the art of documentary photography,Intellect, p. 118,ISBN978-1-84150-315-8
  12. ^Tuggener, Jakob (1943),Fabrik; ein Bildepos der Technik,Rotapfel-verlag,ISBN978-3-86521-493-5
  13. ^Brandt, Bill (1936),The English at home,C. Scribner's sons; London: B.T. Batsford
  14. ^Evans, Walker; Kirstein, Lincoln (1938),American photographs,The Museum of Modern Art,ISBN978-0-87070-835-0
  15. ^Tom Maloney U. S. Camera 1958. U. S. Camera Publishing, New York, 1957, p.115
  16. ^Greenough, Sarah; Alexander, Stuart (2009),Looking in: Robert Frank's The Americans(Expanded ed.), National Gallery of Art; [Göttingen]: Steidl, p. 152,ISBN978-3-86521-806-3
  17. ^ab"Robert Frank".John Simon Guggenheim Memorial Foundation.RetrievedJuly 5,2015.
  18. ^Lane, Anthony (September 14, 2009)."Road Show: The journey of Robert Frank's" The Americans. "".The New Yorker.RetrievedDecember 27,2014.
  19. ^abcdeDawidoff, Nicholas(July 14, 2012)."The Man Who Saw America".The New York Times Magazine.RetrievedSeptember 15,2015.
  20. ^Gefter, Philip (December 12, 2008). "Snapshots from the American Road."The New York Times.Retrieved July 5, 2015.
  21. ^abLooking In: Robert Frank's The Americans: Expanded Edition, Sarah Greenough (Ed), National Gallery Of Art, Washington/Steidl, 2009,ISBN978-3865218063
  22. ^Johnson, Joyce (October 25, 2019)."'You Got Eyes': Jack Kerouac and Robert Frank's Shared Vision ".NYR Daily.The New York Review of Books.RetrievedJune 26,2020.
  23. ^Ladd, Jeffrey (May 9, 2012)."Master of the Photobook: Robert Delpire's Long and Legendary Influence".Time.RetrievedSeptember 14,2015.
  24. ^Robert Frank: Photos,Art Institute of Chicago; retrieved: June 24, 2017.
  25. ^"The Americans – Robert Frank".Steidl Verlag.RetrievedSeptember 11,2019.
  26. ^Robert Frank The Americans ARTBOOK | D.A.P. 2008 Catalog Steidl Books Exhibition Catalogues 9783865215840.RetrievedSeptember 11,2019.
  27. ^"A Glimpse at the Robert Frank Publishing Project".photoeye.RetrievedSeptember 11,2019.
  28. ^"Robert Frank: The Americans".Steidl.
  29. ^"Looking In: Robert Frank's" The Americans "".San Francisco Museum of Modern Art.RetrievedDecember 27,2014.
  30. ^By the Glow of the Juke Box: The Americans List, Jason Eskenazi (Ed), Red Hook, 2012,ISBN978-0-984195-48-0
  31. ^abAllan, Blaine (1988). "The Making (and Unmaking) of" Pull My Daisy "".Film History.2(3): 185–205.ISSN0892-2160.JSTOR3815117.
  32. ^ab"The Trouble With 'Cocksucker Blues'".Rolling Stone.RetrievedJanuary 4,2018.
  33. ^Gerber, Brady (August 3, 2015)."Robert Frank: The Photographer Behind 'Exile On Main St.'".Headphone Nation.RetrievedSeptember 11,2019.
  34. ^ab"Movie Review: 'Me and My Brother' Opens".The New York Times.1969.RetrievedJanuary 4,2018.
  35. ^abJames, Caryn (June 10, 1988)."Movie Review, Hitting the Highway".The New York Times.RetrievedJanuary 4,2018.
  36. ^"Robert Frank, the Godfather of Snapshot Photography and a Pioneer of Everyday Realism, Has Died at Age 94".artnet News.September 10, 2019.RetrievedSeptember 10,2019.
  37. ^ab"Photographer Robert Frank Is Dead at 94".Vogue.RetrievedSeptember 11,2019.
  38. ^"Art: Evoking the World of Some Great Painters",The New York Times
  39. ^Pollak, Benjamin (2017). "Photography from the Inside Out: Robert Frank's Memorial Images".Criticism.59(1): 27–48.doi:10.13110/criticism.59.1.0027.JSTOR10.13110/criticism.59.1.0027.S2CID192427109.
  40. ^Gefter, Phillip (September 10, 2019)."Robert Frank Dies; Pivotal Documentary Photographer Was 94".The New York Times.RetrievedSeptember 10,2019.
  41. ^Bakare, Lanre (September 10, 2019)."Robert Frank, revolutionary American photographer, dies aged 94".The Guardian.ISSN0261-3077.RetrievedSeptember 10,2019– via theguardian.
  42. ^"Looking In: Robert Frank's The Americans".nga.gov.RetrievedSeptember 11,2019.
  43. ^Prose, Francine (January 2010)."You got eyes: Robert Frank imagines America".Harper's.Vol. 320, no. 1916. pp. 67–73.
  44. ^Turan, Kenneth(July 28, 2016)."'Don't Blink — Robert Frank' profiles one of America's most iconic, idiosyncratic photographers ".Los Angeles Times.RetrievedOctober 25,2016.
  45. ^Young, Deborah (March 2, 2005)."Leaving Home, Coming Home – A Portrait Of Robert Frank".Variety.RetrievedSeptember 27,2023.
  46. ^"The Sin of Jesus – Robert Frank – The Film-Makers' Cooperative".film-makerscoop.1961.RetrievedSeptember 11,2019.
  47. ^"O.K. END HERE".Library of Congress.RetrievedSeptember 11,2019.
  48. ^Coney, John (1969)."Conversations in Vermont".RetrievedSeptember 11,2019.
  49. ^"Conversations in Vermont IDFA".IDFA.RetrievedSeptember 11,2019.
  50. ^"Life-raft Earth".mfah.org.The Museum of Fine Arts, Houston.RetrievedSeptember 11,2019.
  51. ^"About Me: A Musical".mfah.org.The Museum of Fine Arts, Houston.RetrievedSeptember 11,2019.
  52. ^Hopkinson, Amanda (September 10, 2019)."Robert Frank obituary".The Guardian.RetrievedSeptember 11,2019.
  53. ^"Keep Busy".mfah.org.The Museum of Fine Arts, Houston.RetrievedSeptember 11,2019.
  54. ^"Robert Frank, Influential Photographer Who Evocatively Chronicled Life in America, Dies at 94".Time.RetrievedSeptember 11,2019.
  55. ^"Life Dances On".mfah.org.The Museum of Fine Arts, Houston.RetrievedSeptember 11,2019.
  56. ^"Energy and How to Get It".International Documentary Film Festival Amsterdam.RetrievedSeptember 11,2019.
  57. ^"THIS SONG FOR JACK".Library of Congress.RetrievedSeptember 11,2019.
  58. ^"Robert Frank. Home Improvements. 1985".The Museum of Modern Art.RetrievedSeptember 11,2019.
  59. ^"Robert Frank. Hunter. 1989".The Museum of Modern Art.RetrievedSeptember 11,2019.
  60. ^"Robert Frank. C'est Vrai (One Hour). 1990".The Museum of Modern Art.RetrievedSeptember 11,2019.
  61. ^"Robert Frank. Last Supper. 1992".The Museum of Modern Art.RetrievedSeptember 11,2019.
  62. ^"Portail du film documentaire".film-documentaire.fr.RetrievedSeptember 11,2019.
  63. ^"The Portable Robert Frank".bordercrossingsmag.RetrievedSeptember 11,2019.
  64. ^"Paper Route".International Documentary Film Festival Amsterdam.RetrievedSeptember 11,2019.
  65. ^„Hauptpreis, dotiert mit EUR 3.500 “
  66. ^"Robert Frank".Hasselblad Foundation.RetrievedDecember 26,2014.
  67. ^"Medal Day History".MacDowell Colony. Archived fromthe originalon August 6, 2012.RetrievedNovember 20,2015.
  68. ^"MacDowell Medal winners 1960–2011".London:The Daily Telegraph.April 13, 2011.RetrievedNovember 20,2015.
  69. ^"Doctor of Fine Arts Honoris Causa of NSCAD University".Steidl Verlag.RetrievedOctober 14,2017.

Sources

[edit]
  • Philip Gefter,Snapshots From The American Road,The New York Times,December 14, 2008.

Further reading

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Bibliographies
[edit]
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