Robert Frank (1) (1924–2019)

When I discovered “The Americans,” by Robert Frank as a student, it changed not only my career but how I approached all my subjects when I was working as a photographer. Probably one of the best collection of images ever assembled in one project.

Robert Frank is a fucking master. This is life, this is real, this is humanity with pimples, warts, and a ribbon.

"The Americans" is a much-acclaimed book of photographs lauded by practically all. I had wanted to see it for a long time, but I found it to be a disappointment.

"The Americans" ostensibly portrays a view of America in the late 1940's and early 1950s and it is easy to understand its appeal to those who believe the "greatness" of the United States is overrated. It focuses on working class individuals, many elderly. Those wealthy individuals it portrays are depicted in social situations with show more ostentatious displays of wealth (e.g., an elderly woman wearing a fur coat in Miami). Nowhere is there a sign of the hope or optimism that characterized large swaths of the American population during those times.

I recognize the difficulty of capturing the essence of America in a scant 83 photos but I was struck by how little of the rich diversity that characterizes America the book captures. For example, "The Americans" largely ignores or distorts the rites of passage that are so important in all societies. Babies, a source of joy to most Americans, are represented in a picture of a baby lying alone on the floor by a jukebox. Teens are depicted in static poses that deny their youthful exuberance. Weddings are absent, yet symbolic decapitations (by flags, stairs, and a tuba) appear repeatedly.

"The Americans" is not without some strong images. Frank's photo of passengers on a bus in New Orleans is widely acclaimed for its portrayal of social stratification in America; partially obscured white male followed by white female, white children, black male and black female. Another powerful photo shows a black nanny and white baby looking in different directions. The same symbolism is present is his photograph of a graduation ceremony. The young graduates face one direction and the weary older gentleman faces the opposite direction. These images present a striking metaphor of the different paths open to each. The vastness of the U. S. is captured in a photo of U. S. 285 in New Mexico and to a lesser extend in other photos. However, those images depict barren land marred by human artifacts that is devoid of any sense of majesty or beauty.

"The Americans" seen through Frank's camera lacks vitality and energy. In the absence of images that depict positive attributes such as energy, hope, compassion, or joy, Frank shows us empty rooms and spaces without people. Some of the images are of poor quality or of such a narrow range of focus that the message is muted.

Frank's purpose may have been merely to document what he saw, but I wonder if he saw only what appeared in the book. He has been credited with documenting the social stratification of America, but decades earlier the more compelling images of Dorothea Lange, Alfred Stieglitz, and Walker Evans, to mention only a select few, produced superior works that had a greater impact. For example, Frank depicts a Detroit assembly line as dark and unattractive, perhaps a fair social statement, but a decade earlier Lewis W. Hinds provided much more compelling photos of work and a more effective argument for social reform.

Finally, "The Americans" lacks page numbers and a list of photos. As a consequence, returning to examine particular images requires a time-consuming, page-turning search. show less

These images are surely the progenitors of modern photographic social commentary, and they are poignant and affecting, but I wasn’t wowed. I probably should try to appreciate them for their historical context, but that’s a drab, dull way to interact with art.
Also, I did not appreciate Kerouac’s repetitive, pretentious foreward. Yes, yes - you make up words that sound like feelings. Aren’t you amazing?!