Guggenheim 605--Funeral procession, San Francisco c. 1956

Curator: This is Robert Frank’s contact sheet from around 1956, titled *Guggenheim 605 – Funeral Procession, San Francisco*, using gelatin silver print. Seeing all these frames together offers such a fascinating glimpse into his process. Editor: It does. I am struck by the cinematic quality – it feels like looking at storyboards, little frames of reality captured. What stands out to you as you examine the sheet? Curator: I'm particularly interested in the social context of street photography in the mid-20th century. Frank wasn't simply documenting; he was presenting a vision of America that often challenged the prevailing narratives. Look at the images— the seemingly candid shots of everyday people. How do you think this differs from staged portraits we may see? Editor: I guess staged ones often try to be more flattering or idealized. This seems rawer. It shows people in a less controlled environment, more… vulnerable, maybe? But who was he photographing in the first place? And how might this sheet has been received when people saw it? Curator: He photographed everyday people. These are candid street portraits, often catching people in moments of solemnity or contemplation. We see the faces in the crowd, each bearing witness to the solemn occasion. There is a lack of artifice or control; it aimed to reflect the complex, and at times, fractured reality of American life at that time, differing sharply from idealized media images. I wonder, what would the reception have been, particularly by curators and audiences accustomed to a more polished view of American society? Editor: I hadn’t really considered how revolutionary that was. Thank you for helping me understand this. Curator: Indeed. Looking at these sheets reminds us how much art challenges societal norms, fostering dialogue and encouraging a more nuanced understanding of ourselves.