Paris 93B 1951 - 1952

Editor: Robert Frank's "Paris 93B," taken between 1951 and 1952, is essentially a series of film strips showing what appears to be domestic life. I’m struck by the fragmented nature of the presentation. What can you tell me about the social context influencing a work like this? Curator: These film strips offer a raw, almost voyeuristic, glimpse into everyday life, especially poignant considering the post-war era. The late 1940s and early 50s witnessed a shift in photographic practice. There was a turn towards a more subjective, less idealized representation of reality. Think of how societal expectations about family, roles, and privacy were being both reinforced and challenged at that time. Editor: So, it's almost a commentary on the constructed image of domesticity, laid bare? Curator: Precisely! Frank, as an outsider—a Swiss photographer in Paris—brought a unique perspective. He wasn’t bound by the same nationalistic or idealized notions of French society. Also, consider how museums and galleries were starting to exhibit documentary photography as art. How does this influence how you interpret his approach? Editor: That makes me wonder, were these strips ever intended as a finished work, or were they source material, giving them another kind of public role? It looks so… unrefined, almost rebellious. Curator: Exactly. And that rawness, that “unrefined” quality, became a hallmark of his style, influencing subsequent generations of photographers. We see the seams, literally! Editor: That makes a lot of sense! I see it now. Thanks for illuminating the cultural and political dynamics in his artwork. Curator: My pleasure! Seeing the politics of imagery at work broadens our perception and interpretation.