Peru, page 13 1948

Editor: Here we have Robert Frank's "Peru, page 13", a gelatin-silver print from 1948. I'm struck by its kind of melancholic feel, like a faded memory of a journey. The stark landscape contrasting with the detail of the people almost crammed together makes it an incredible piece of street photography. What captures your eye the most? Curator: The visible binder holes really get to me, actually. They feel so…intimate. Like ripping a page from a travel diary. We're sharing a glimpse into Frank’s experience in Peru, sure, but it also feels like we're unearthing his method, too – an unfinished thought, still clinging to its source. Notice the contrast between that ordered line of holes, and the ruggedness of the scene it frames, a road receding into the horizon as if the future and the past met unexpectedly? Editor: That makes a lot of sense, it's not a perfect pristine artwork but more like an image of an imperfect record of reality, right? I see so many hats. Is that common? Curator: It's fascinating to imagine. Those hats offer anonymity while highlighting the shared human experience of travel. Think about the period, post-war recovery, journeys both forced and chosen... maybe a shared vulnerability in seeking something new, all while clinging to the familiar. Do you feel a sense of intimacy? Editor: Absolutely. Your reflections make it easier to notice more personal details. Thanks so much. Curator: My pleasure! Looking at it again, I wonder, what other stories are hidden between the holes of that metaphorical binder? It's endlessly thought-provoking.