Guggenheim 336--New Orleans, Louisiana 1955

Editor: Here we have Robert Frank's "Guggenheim 336--New Orleans, Louisiana" from 1955, a black and white photograph presented as a contact sheet. It's a little overwhelming with all the small frames. I’m curious, given your expertise, what jumps out at you about this particular piece? Curator: What interests me here is the materiality of the work itself. This isn't just an image, it's a record of the photographic process, a contact sheet showcasing the labor involved. We see the artist's selections, their outtakes alongside the "chosen" shots. Think about the sheer volume of film Frank must have processed to arrive at these specific frames. Editor: So, you're focusing on the physical aspect of creating this photograph rather than the scene depicted? Curator: Precisely. Look at the graininess of the film, the uneven development, these imperfections speak volumes about the conditions of production, and possibly, the resources available to Frank at that time. Also, the context - the Guggenheim Foundation's support allowed Frank to travel and document America, but what was he asked to produce and what did he actually produce? Are they the same? Editor: That's a great point. The limitations and freedoms of the commission, the specific type of film available… all impacting the final work. Do you think this challenges our traditional understanding of artistic skill? Curator: Absolutely! It questions the singular genius model, pointing instead to a web of social, economic, and technological factors that shape what we ultimately see. Consider the chemical processes needed to develop the film, the machinery to capture the image in the first place… it’s all interwoven. Editor: It's fascinating to think about photography in terms of its production – I think it will definitely affect the way I think about photographs moving forward! Curator: I'm glad I could bring this perspective into view. Thinking materially allows us to unpack a broader range of stories.