Early New York City no number 1950 - 1951

Curator: This is Robert Frank's "Early New York City no number," created between 1950 and 1951. It's a gelatin silver print offering a glimpse into his early photographic explorations. Editor: The image feels raw and unpolished. I am immediately drawn to the strips of what seem to be undeveloped film, haphazardly placed on the page, creating an almost melancholic narrative of the bustling metropolis. Curator: That raw quality speaks volumes. Frank, as part of the New York School, wasn’t just capturing cityscapes; he was capturing a feeling, an energy, an often-unseen reality. There’s a sense of social commentary lurking beneath the surface. We can trace how modernism as a style intersects with Frank’s critical approach, focusing on alienation, consumption and identity. Editor: Yes, it challenges traditional notions of photographic representation. I am keen to delve into the process; what materials were readily available, and how this access shaped his visual vocabulary? The dark blacks are very pronounced, what impact does the light have here? Curator: The dark blacks indeed are heavy. It underscores the film’s materiality itself, hinting at the physical conditions of his work. The high contrast serves a symbolic function too. This can represent the tension within urban life in that time period. Considering theories of urban alienation can also further deepen how we understand its symbolism. Editor: The visible filmstrips speak to production. I'm curious how he conceptualized this piece as more than just single photographic prints; he showcases his methods to viewers, inviting us to recognize all that went into the piece. Curator: Absolutely. Think about his background and how that informed his artmaking, with a European Jewish experience with diaspora. We have the perspective of someone acutely aware of societal divisions viewing a landscape itself grappling with its identity in the postwar era. Editor: His work then becomes a commentary on mass production and mass society as his materials also invite us to question how labour functions and exists to bring art into view. I am fascinated that he draws our focus towards that whole cycle. Curator: Exactly! It’s not just what's depicted, but how it's depicted, and the story of that making which amplifies its resonance, urging critical reflection on city life and modes of representation themselves. Editor: Looking at the images again, I see New York, but feel so grounded by what came into creating and making. The layers of reflection here make Frank’s work stand the test of time.