Convention 1 1956

Curator: Here we have Robert Frank's "Convention 1," a gelatin silver print created in 1956. It showcases several strips of film, a rather different presentation for a finished photographic work, wouldn’t you say? Editor: Yes, the first impression is immediately about the artist's process. It almost feels like peering into the darkroom, glimpsing the raw materials before a selection is made. It’s rough, immediate… unrefined, even. Curator: Indeed. The arrangement of frames, the red “X” scrawled over a particular sequence… it highlights Frank's act of curation. Note how he chooses to present these various urban and interior scenes together; it creates a non-linear narrative structure. Editor: Exactly. I see men in suits, urban architecture, perhaps a factory. The juxtaposition, the material reality of film, suggests a commentary on industrialization and social structures of the time. These strips represent an index of societal life. Curator: Let's not overlook the formal rigor amidst this apparent rawness. The monochromatic palette, the careful distribution of light and shadow. Notice the contrasts – the solid geometry of buildings against the soft human forms. These tonal relations create depth. Editor: And that rough, immediate texture of the silver gelatin print itself speaks volumes. This isn't a slick, perfected image; it's tactile. The choice to leave the process so exposed challenges our understanding of value in photography and fine art tradition in general. We can almost feel Frank's labor and decision-making process. Curator: I concur. The selection of which frames to highlight and which to reject, marked so starkly with the red "X," really accentuates his decision-making role. One cannot avoid wondering about these decisions or lack thereof. Editor: Well, seeing the contact sheet like this also implies it may be more of a collection of fleeting impressions than calculated messages from society in 1950’s United States. Curator: Regardless, this encounter has opened a space to think about narrative construction, the weight of images, and how Robert Frank actively manipulated photographic language through materials and montage. Editor: I will agree that seeing Frank's choices displayed like this opens up new conversations for later artists about authenticity, medium, and how much the labor should be involved in creating an artwork.