Family--New York City no number 1954

Curator: Robert Frank's "Family--New York City no number," taken in 1954, offers a fascinating glimpse into his working method, showcasing not just the final image, but the filmstrip itself. Editor: Immediately, what strikes me is this raw, almost exposed vulnerability. It's like seeing the artist's thought process laid bare—the selection, the near-misses—a powerful statement in its own right. Curator: Precisely. Frank’s work from this period really pushed against the highly polished photojournalism that dominated the era. Think about the social context: post-war America, idealized family portraits. Editor: Right. But here, even in what we can glimpse of individual frames, we see that refusal of the glossy image. There’s a hint of discomfort, uncertainty. Was he aiming for the candid shot to show real emotions instead of staged perfection? Curator: It's very insightful. I imagine Frank challenging the prevailing narrative and really question what does "family" really mean? Also, by showing the full film strip, Frank turns this picture into art in the form of documentation. A photo documenting the other pictures that can't speak in a raw but beautiful way. Editor: Beautifully said. The film strip here serves as an incredible artifact, inviting questions and conversations about how the photographs function. Curator: So, with pieces like this, we’re invited to contemplate the layers, the imperfections, and the politics that Frank challenges in each image, while at the same time is like looking over the photographer's shoulder, it is fascinating. Editor: Indeed, to consider how a simple image might subtly shape cultural perceptions and challenge established societal expectations...that's the truly powerful essence of the documentary photographs that have historical value such as Robert Frank's artwork.