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The America of Robert Frank

Danziger Gallery presents an exhibition devoted to Robert Frank  American photographs, his best known and arguably most important work. The exhibition will be comprised of 40 photographs – 15 from Frank’s seminal book “The Americans” (now celebrating the 60th anniversary of its American publication) and 25 unpublished works from Frank’s travels at the time.

Juxtapoz Magazine – Robert Frank, One of the Most Influential Figures in the History of Photography, Dies at 94

Photographer Robert Frank, one of the most pivotal figures in history, has passed away at the age of 94. Frank’s 1958 book The Americans redefined what a photograph could mean and is arguably the most influential photo book of all time. Your favorite photographer’s favorite photographer. Frank has inspired generations and continued to photograph, make films and publish books until his death.

Robert Frank 1924-2019 – The Photo Society

Robert Frank died today. As Sean O’Hagan wrote for The Guardian “it is impossible to imagine photography’s recent past and overwhelmingly confusing present without (Robert Frank’s) lingeringly pervasive presence. Frank was 31 in 1955 when he secured the Guggenheim Grant… He shot around 28,000 pictures. When Les Americains was published by Robert Delpire in France in 1958, it consisted of just 83 black and white images, but it 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… (Robert Frank) caught what Diane Arbus called the ‘hollowness’ at the heart of many American lives, the chasm between the American dream and the everyday reality.” One of the photographers I know in Cape Breton, Chad Tobin, @tobinchad, has been photographing Robert Frank at his summer home in Mabou, Nova Scotia for ten years now. He and Robert Frank had a special connection.

The Shock of Robert Frank’s “The Americans” | The New Yorker

It may be impossible to convey to people who weren’t percipient in the early nineteen-sixties the profound, exulting shock that Robert Frank’s “The Americans” delivered to me, among many others, at the time of its release. The book, which was published in the United States in 1959, ranked with Dylan, Warhol, and Motown as a revelation something like a celestial visitation and something like being knocked off a cliff into a free fall so giddy as to obviate any fret about hard landings. The toughest part, from today’s perspective, was that the impact of Frank’s pictures had only passingly to do with their social, political, and otherwise thematic content, now so serviceable to this or that mode of critique. We were formalists then, and anti-formalists—not alternatively but both at once. Frank had exalted photographic form by shattering it against the stone of the wonderful and (oh, yeah) horrible real.

Wanting to See Like Robert Frank | The New Yorker

The photographer Robert Frank died on Monday, on Cape Breton Island, in Nova Scotia. He was ninety-four. Frank’s pictures were spontaneous and imperfect—usually grainy and overexposed, often crooked—yet consistently devastating to behold. I bought his best-known book, “The Americans,” when I was sixteen, in part because Jack Kerouac had written the introduction, and I was young enough to still be thoroughly and guilelessly enraptured by Kerouac’s beautiful, ecstatic ideas about personal freedom. Frank shot the book in 1955 and 1956, after receiving a Guggenheim Fellowship, which allowed him to crisscross the country in a Ford Business Coupe, with his 35-mm. Leica camera and hundreds of rolls of film. He was always looking—peering in and out of windows, ducking around corners, lingering off to the side of the action. There is something furtive and nearly supernatural about his photographs. It often feels as if his pictures aren’t of vistas or faces or rooms, but of secret American feelings. “He sucked a sad poem right out of America onto film, taking rank among the tragic poets of the world,” Kerouac wrote.

Walter Keller: Beruf: Verleger. A Tribute – AMERICAN SUBURB X

“So, when we consider respect in the medium, we can limit our discussion by looking at who is contributing to our world and who is not. Publishers by and large are the unsung heroes of the day”.

  • Books

Robert Frank Dies; Pivotal Documentary Photographer Was 94 – The New York Times

Mr. Frank’s visually raw and personally expressive style made him one of the most influential photographers of the 20th century.

Hubert Henrotte : A book on photojournalism

Hubert Henrotte! He is one of the mythical names in the history of photojournalism! He too was swept away by the drastic technological changes of the 2000s. Today, he is publishing his beautifully titled book: Can photojournalime save the press? He asked us to publish this excerpt: the interview by Clément Thiery.

Juxtapoz Magazine – Play the Wind: A New Exhibition and Film by Alex Prager

Alex Prager opens an exhibition of new work, including a new film, Play the Wind at Lehmann Maupin this week. Well established for her genre-defying approach to image making that timelessly combines eras, cultural references, and personal experiences, the photographs and the film debuted in this exhibition are a fresh reflection on Pragers place of origin, site of inspiration, and frequent character—the city of Los Angeles.

Photojournalist sentenced for terrorist propaganda over a photo – Stockholm Center for Freedom

Çağdaş Erdoğan was taken into police custody in September 2017 while he was taking photographs in İstanbul’s Kadıköy district, on allegations of photographing a Turkish intelligence building in the area. After 11 days in custody, he was put in pretrial detention by a court on terrorism charges. Erdoğan was released pending trial in February 2018.

Decor by Jean-Christophe Couet

DECOR is a triptych of photography, film and a sculpture all combining to celebrate the theme of identity in the conflicted territories of Kosovo (2007), the region of Abkhazia in Georgia (2008) and Transnistria (2010). The gelatin silver prints recount a visual diary of youth culture in regions where newly drawn lines question the essence of belonging. The conflict invites not only the anarchy associated with destruction, but also all other actors who claim advantage over an unsettled place bringing further chaos to a fragile landscape. The film “Internal Displacements” is an animated short produced by Le Fresnoy Studio National des Arts Contemporains in France. The Belgian artist Hans Op de Beeck wrote an original score for it. The sculpture entitled “The Gaze” is a recount of an incredible encounter of young inmate in Batumi, Georgia. It is made of acrylic glass and projection perpetually allows the portrait of the prisoner to breathe in and out.

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Tommaso Protti’s portrait of a modern Amazon – British Journal of Photography

Addressing a range of issues that span deforestation, drug wars, and daily life, Tommaso Protti’s investigation into the social fabric of the Brazillian Amazon wins this year’s Carmignac Photojournalism Award

Oskar Alvarado – Where Fireflies Unfold « burn magazine

The majority of those born in the cities resulting from rural emigration in the 60s and 70s have a common place that unites us: our parents’ village. Deleitosa is my village.It is located in the province of Cáceres, in the region of Extremadura in Spain. Here my parents, grandparents, great grandparents and other ancestors were, going back through centuries of family genealogy. Deleitosa was the village that Eugene Smith chose to realize his photographic essay “Spanish Village” that was published in the American magazine Life on April 9, 1951.

OpenWalls Arles 2020: Daily Life on the remote island of Eigg – British Journal of Photography

Danny North’s series, As I Found Her, explores one of the most isolated communities in the UK

Juxtapoz Magazine – Masahisa Fukase’s Family Photos

For three generations the Fukase family ran a photography studio in Bifuka, a small provincial town in the northern Japanese province of Hokkaido. In August 1971, at the age of 35, Masahisa Fukase returned home from Tokyo, where he had moved in the 1950s. He realised that the Fukase Photographic Studio, which his younger brother managed, combined with the growing family members, constituted the perfect subject for a series of portraits.

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