Man who lived with mannequin--Paris 9 1960

Curator: Let's turn our attention to this intriguing contact sheet by Robert Frank titled "Man who lived with mannequin--Paris 9" made in 1960. It’s a gelatin-silver print, typical of his documentary style. What strikes you first about this, visually? Editor: Chaos, beautiful chaos! My eye darts all over the place. It feels like flipping through someone's deeply personal, slightly unsettling scrapbook, full of moments I am not supposed to be witnessing. Curator: Exactly, a contact sheet allows us rare insight into the photographer's decision-making. Look at how he frames reality. You can see which shots Frank considered worthy of further attention via his grease pencil markings. The labor is evident. Editor: It is strange the contact sheet even becomes art here. There is so much reality; that I end up searching each shot trying to figure out how all this links together; as it if means something... maybe I want it to... Curator: These aren't conventionally beautiful images but observe their gritty texture, stark contrasts typical of Frank's style of Post-Impressionism. Notice, too, that a lot of his work is considered Realism. Editor: Totally—but realism filtered through a subjective, slightly cynical lens, right? There's a story lurking in each frame and also as a single whole piece. It almost gives me a noir, almost gothic, sense of alienation. The mannequins also makes the real human ones all the more tragic as they attempt their every day in each strip. Curator: Yes. The monochrome aesthetic also removes the distraction of color, making you confront the subject matter in its bare essence. And his framing choices are critical to meaning! Consider that against the broader socio-political context. He made these images only shortly after his breakthrough success with "The Americans", which challenged America itself. Editor: Oh, that adds another layer. Here he's pointing his gaze towards his time living in Paris... What do we see as we scroll the strip and sheet: hints of isolation. A critical gaze maybe focused towards a new object of fascination that is so often romanticised; especially amongst Americans: France! I do agree it definitely offers us a glimpse into Frank’s perspective at this time in his life and world, his eye. Curator: I think you nailed it! It underscores Frank's unique position as both insider and outsider, observing society's obsessions. Editor: Well, for me it just tells stories, little stories. And reminds me how very strange existence is. Curator: Indeed.