Giorgio De Chirico and Van Doyen--European portraits no number 1961

Editor: Here we have Robert Frank’s gelatin silver print from 1961, “Giorgio De Chirico and Van Doyen--European portraits no number.” It shows several strips of film, portraits I presume, arranged against a black background. What catches my eye is how the film strips themselves become the subject. How do you read this piece? Curator: For me, this work is layered with meaning. Each film strip functions like a fragmented narrative, capturing a series of moments in time. Consider the act of arranging these strips: it transforms private memories into public artifacts, imbued with the artist’s intent. Robert Frank seems to be asking: what is a portrait? Is it a singular perfect shot, or a sequence revealing something deeper about the subject? Editor: I see that, it's like he is presenting the process of selecting the best image to represent De Chirico or Van Doyen. What's so striking about Frank including every frame, the outtakes too. Curator: Precisely. The very imperfection becomes part of its symbolic power. Frank invites us to reflect on authenticity, and challenges traditional ideas around photography, its purpose, and its artfulness. Consider also the "no number" designation; does it emphasize uniqueness, or perhaps anonymity? The question remains. Editor: The multiple perspectives shown really amplify what photography, especially portraiture, really tries to capture. Thanks! Curator: It does reveal how Frank explores memory and time, reflecting on how photographs hold not only the subject, but the photographer's subjective viewpoint as well. It’s been illuminating to reconsider this work.