Peru 1 1948

Editor: Here we have Robert Frank's "Peru 1" from 1948, a contact print presenting several strips of film. What immediately grabs my attention is that we see the 'behind-the-scenes' labor usually hidden in photography. It’s a peek into Frank's process. What do you see in this piece? Curator: I agree. This work is fascinating because it draws attention to the physicality of the photographic process. The strips of film themselves become the object of art. We aren't just looking at the final images but also contemplating the artist’s hand and decisions involved in producing them. Editor: So it's the means of production that is important, right? Like we are focusing on the materials instead of the finished photographs. Curator: Precisely. Think about what the "contact" implies here; the direct touching and manipulation of the materials. He isn't only the person capturing the photos in the camera but choosing what makes the cut as he produces this work. Frank elevates not only the subject depicted in the photos, presumably people and street life in Peru, but brings dignity and artistry to his work behind the camera. Editor: So seeing the strips gives us a fuller picture, beyond individual moments. But are the subjects relevant? Are we meant to consider the socioeconomic conditions captured on film? Curator: The content isn't secondary but works together to be read through its material presence. For example, a single image could suggest a specific reading, but when we see it in sequence on the film strip it alludes to a different relationship to labor and process. Think about it: how many frames did he shoot vs. the final picture? This process highlights a negotiation with material and labour practices which brings new attention to social representation. Editor: That's insightful, this has expanded my perception of this work so much more. The process *is* the point and allows another consideration for labour beyond the subjects portrayed. Curator: Indeed. By laying bare the usually unseen labor of photography, Frank is really inviting us to reconsider artmaking itself.