Concert--New York City no number 1954

Editor: This is "Concert--New York City no number" by Robert Frank, from 1954. It's a gelatin silver print showing strips of film, almost like a storyboard. It's kind of raw and gritty. What can you tell me about this work? Curator: Considering Frank's photographic approach, I'm interested in the material process. What do these film strips reveal about his method of image-making? The act of sequencing images like this foregrounds the artist's labor of capturing and editing. He is moving away from "art photography" into a mode that captures the fleeting moments and lived experience. Editor: That's interesting. I wouldn't have considered that as immediately "art" just by its look. It’s rougher than what I usually see. Curator: Exactly! By showcasing the film strip itself, Frank dismantles the notion of the photograph as a singular, perfectly composed object. He invites us to consider the materiality of the medium and the editing process which would otherwise remain hidden. Think about the social context – what does it mean to depict everyday life in this unpolished manner? How might this challenge conventional notions of beauty and worthiness within the art world? Editor: So, it’s as much about showing how the work is made as it is about the concert itself? The raw process *is* the message. Curator: Precisely. This speaks to the democratization of art-making itself. The tools and methods are made plain, inviting a wider audience to engage with the process, the consumption. Editor: Wow, I never thought about it that way. It’s really challenging my idea of what makes something "art". Thank you! Curator: My pleasure! Considering the means of production really changes your perspective.