Andrea at 86th Street--New York City no number c. 1968

Editor: We're looking at Robert Frank's "Andrea at 86th Street—New York City no number" from around 1968, a gelatin-silver print showing a series of exposures. The entire contact sheet has a fragmented feel. What stands out to you most? Curator: The rawness. Frank's work, especially from this period, critiques the sanitized, idealized image of America. This contact sheet, rather than a polished print, lays bare the photographic process. How does seeing Andrea presented in this way impact your perception of her as a subject, particularly considering photography's historical role in constructing identity and often, stereotypes? Editor: I guess it feels more honest. Like you're seeing behind the scenes. Did Frank do this with many of his portraits? Curator: Precisely. By showing us the failures, the experiments, he disrupts the power dynamic inherent in portraiture. Consider how this resonates with conversations around representation today – who gets to control the narrative, whose image is valorized, and what is lost when we erase the imperfections? What does it mean to show someone’s authentic self? The repeated images offer us an intimate look at a woman in time. Editor: So, the act of showing the entire sheet is a deliberate political statement? Curator: It's an intervention. He’s challenging the conventions of beauty and photographic truth. Do you think Frank presents a more realistic idea of women or New York here? Editor: It definitely challenges that idea, especially with the framing and street photography components combined here. Thanks, I see the photography more as a social commentary now! Curator: Exactly. Understanding art within a larger social context is invaluable.