Nixon campaign 11 1960

Editor: Here we have Robert Frank’s “Nixon Campaign 11” from 1960, a gelatin silver print presented as a contact sheet. The stark black and white imagery has a sort of detached, documentary feel. What historical weight does a piece like this carry, showcasing moments from Nixon’s campaign? Curator: It carries a considerable weight, particularly in understanding the role of imagery in shaping political perception. Frank’s choice to present a contact sheet, typically a behind-the-scenes view, is crucial. Instead of a polished, staged image, we see the raw process of selection. Does that rawness affect your reading of Nixon’s campaign? Editor: Definitely. Seeing the multiple frames makes it feel less controlled, more vulnerable, maybe. Almost like peeking behind the curtain. So, how would this have been received at the time, versus how we see it now? Curator: Initially, Frank’s work was often criticized for being unpatriotic. In the 1960s, there was a demand of artists to produce works, usually positive and hopeful. What he actually made in reality was considered un-American by some. Now, it's celebrated for its honest portrayal of American society. Consider the socio-political climate, the rise of television and image politics. What readings of power dynamics do you get? Editor: It seems to demystify power somehow. Like it’s revealing the mechanics of political performance, even back then. The access feels transgressive. Curator: Precisely. It makes you wonder what aspects of campaign and candidate images that media and government allowed people to actually see. Frank's photographs provide this invaluable historical resource from which scholars and the public can engage. Editor: It’s interesting to see how what was once controversial is now valued for its insight. Thanks! Curator: My pleasure! It’s a reminder that the power of images lies in their capacity to evolve in meaning.