Guggenheim 470--Twentieth Century Fox film studio, Burbank, California 1956

Editor: So, here we have Robert Frank's "Guggenheim 470—Twentieth Century Fox film studio, Burbank, California" from 1956. It's a gelatin-silver print of a filmstrip, and honestly, it feels a little chaotic at first glance, like a behind-the-scenes glimpse. What's your read on it? Curator: Seeing this as a materialist, the print highlights the means of production itself. The filmstrip form isn't just a neutral carrier of images; it’s part of the work, reminding us of the photographic process. Look at the various settings depicted: studio shoots, portraits, even domestic interiors on film sets. What do they have in common in the way that they relate to film making? Editor: I see what you mean. They're all fabricated environments. But what is he trying to say about the nature of "the film making"? Curator: Exactly! These manufactured scenes were meticulously produced, and served particular function: each photograph's value comes in its usefulness in realizing an artistic goal or intention. Consider, how Frank chose to present this work: not as individual perfect images, but as raw strips of celluloid. Doesn’t that shift your understanding of photography? Editor: Absolutely! By showing the filmstrip itself, he's demystifying the final "perfect" image and exposing the labor and materials that go into creating it. This raises some important questions... where and with what intentions does the 'product' diverge from its 'raw materials'? Curator: Precisely! He isn't afraid to look behind the stage and consider where these objects come from! Now we need only explore what statement is being made through this decision... Editor: This has completely shifted my perspective on photography as a medium and really challenged the conventional ideas I have about material importance within art production. I appreciate you showing me that! Curator: And I have enjoyed learning more about your insights in modern photograph and material!