11th Street story 23 by Robert Frank

11th Street story 23 1951

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Dimensions: overall: 20.2 x 25.3 cm (7 15/16 x 9 15/16 in.)

Copyright: National Gallery of Art: CC0 1.0

Editor: We’re looking at Robert Frank’s "11th Street story 23" from 1951, a gelatin silver print. It’s a contact sheet showing multiple frames, mostly street scenes with people. The high contrast creates a certain grit and immediacy. What's striking to you about the visual structure of this work? Curator: Note how the photographic contact sheet presents an almost serial approach to imagery. Consider the linear progression across and down; this arrangement prioritizes not individual capture but, rather, a holistic accumulation, one photograph building upon another in rapid sequence. Editor: So, the meaning emerges from the sequence itself rather than one single frame? Curator: Precisely. Notice the use of high contrast inherent to gelatin silver prints, that emphasize shadow and light – consider how that affects how our eyes traverse each composition in rapid order. Does the artist draw specific intent on isolating an iconic message, or rather an accumulative aesthetic impact? Editor: That's an interesting distinction. The contrast and repetition, combined with the candid nature of the street scenes, feels raw and unfiltered. I wonder about the formal choices leading up to that raw effect? Curator: Think, too, about Frank's characteristic method—his intentional disruptions to conventional photographic techniques of framing or focus, or in some cases exposing, in favor of capturing authenticity. Now, what effects of contrast or repetition are you interpreting when surveying the whole array of images? Editor: The darks and lights and replicated scenes of labor reinforce a theme, yet their ordering leaves its final purpose very much open-ended, without conclusive comment. It captures a feeling of flux, not any didactic claim about '50s New York. Curator: Indeed. This sense of openness comes from how one picture reflects and contrasts the other – through visual patterns. Thus a feeling arises not just out from singular themes, but within the greater sum, and out of photographic qualities brought on display through each intimate copy.

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