J.L.A. IX c. mid to late 1950s

Curator: It's certainly not just about 'high art'. Frank’s 'J.L.A. IX' is a gelatin-silver print from the mid to late 1950s. It looks like a contact sheet, right? Editor: Yes, it's grainy and presents multiple images on one sheet, it looks almost documentary in style. What can you tell me about it? Curator: Well, that grainy texture speaks to process. He wasn’t going for technical perfection. It’s about capturing a moment, an impression. Look at how the repeated frames draw your eye down the strip. He presents us with raw material: potential narratives, failed attempts, maybe even images destined for the cutting room floor. The mundane elevated through artistic decision. What are your thoughts about this specific choice? Editor: I guess the process of selection and rejection becomes part of the artwork itself, like we're seeing behind the scenes. The different scenes depicted feel connected, but the association isn't obvious. Curator: Exactly. Frank lays bare the means of production. It's about more than just the images. It's about labor, about materiality – the film itself. In that era of mass production and consumption, consider how the medium itself and the creative act get transformed into art. Do you see him challenging any artistic boundaries? Editor: Definitely the boundaries between documentary and fine art. He's using documentary style and street photography to achieve artistic effect. What would you say you appreciate the most about this piece? Curator: It reminds us that art is work and decisions. We are witnessing the work, the act of artistic creation and the artist himself reflecting on consumer society through the depiction and utilization of the materials themselves. Editor: So interesting to think about photography through a material lens, reflecting on Frank's approach. Curator: Agreed, looking closely at materiality offers another rich entry point for understanding Frank’s cultural commentary.