Paris 17A 1949 - 1950

Editor: This gelatin silver print, titled "Paris 17A", was created by Robert Frank between 1949 and 1950. What strikes me most is its raw, documentary feel. It's like a series of glimpses into Parisian life, captured on a single contact sheet. What do you make of it? Curator: It’s important to see this in the context of post-war Europe. Frank, though Swiss, documented a rapidly changing world. The contact sheet itself— the uncut roll of film—suggests immediacy and lack of editing, a conscious decision to present a ‘truthful’ image of Parisian society. Editor: Truthful in what sense? I notice the presence of nuns, possibly brides, and other diverse figures. It's quite a mix! Curator: Exactly. It speaks to the layers within Parisian society, its religious institutions, celebratory rituals, and everyday scenes like parks. Frank seems interested in exploring the juxtapositions and the varied social classes present in a city still recovering from the war, while simultaneously presenting an image to the future. Editor: So it’s a historical document as well as an art piece. Curator: Absolutely! The raw, unedited format is, I think, a comment on the act of image-making itself. How do institutions, including Frank's own practice, create the “story” of Paris? It seems this question is the focus rather than pretty photographs. Editor: It challenges this concept by revealing the frames around it, the outtakes almost? Very interesting, I never thought of that, but it is very informative for the time this was produced. Curator: Yes! Frank wants us to be critical viewers, understanding the forces at play behind what we see and consume. This contact sheet encourages active participation by urging us to think through those elements on our own. Editor: This artwork taught me so much more about how to analyze street photography, thinking critically. Curator: And for me, it reinforces the enduring power of art to raise important social and historical questions.