Pablo--New York City 4 c. 1953

Editor: So this is "Pablo--New York City 4" by Robert Frank, from around 1953. It's a gelatin silver print, and it kind of looks like a contact sheet, a collection of different exposures on one print. What I find fascinating is the contrast between public and private moments here; what strikes you about it? Curator: The symbolism inherent in Frank's choice to display these disparate images together speaks volumes. Think about the street scenes: the stroller, the well-dressed women – archetypes of a certain post-war prosperity. Now contrast that with the images of, presumably, a child eating. How does the juxtaposition of external societal performance and internal, personal ritual affect you? Editor: I see what you mean. It’s almost like he's contrasting the idealized image of the city with the reality of everyday life and family. The images of the child seem more genuine, somehow. But what is Frank trying to say with this visual juxtaposition? Curator: He’s highlighting a tension. Consider the symbolism of the "street" in photographic tradition, usually a site of spontaneity. Then you have the staged or framed portrait within the home. How can one image – or photograph - truly capture a "life?" Or is it simply multiple moments viewed simultaneously? Consider how this plays against contemporary notions of social media today? Editor: That’s really interesting, the social media aspect. We’re always presenting curated versions of ourselves. Frank’s kind of hinting that the external performance isn't the whole story. It also makes me wonder how the reception to this photograph was during its time, and how we respond to it today? Curator: Yes. It also reflects the anxiety and the performance inherent in living, even then. What you’ve gleaned today, in a mere glimpse, speaks volumes of Frank’s legacy. Editor: I agree; looking at it that way has definitely opened my eyes to different dimensions within this work, which I will continue to study more deeply. Thanks for your insight!