Family, New Year's Eve--New York City 1A 1953 - 1954

Editor: Here we have Robert Frank's "Family, New Year's Eve--New York City 1A," a gelatin silver print from 1953-1954. Seeing the strips of film gives such a candid, almost voyeuristic feel, as if we're glimpsing private moments. How do you interpret Frank's decision to present the images in this contact sheet format? Curator: That's a perceptive observation! It is interesting how Frank has presented this to us in film strips, isn't it? It removes the slickness often associated with fine art photography, stripping it bare. What we have, rather, is the process – a selection of moments, some blurry, some sharp, giving equal weight to all. For me, it speaks of the fragmented nature of memory and experience. What do you think it says about "Family?" Editor: I see what you mean, the fragmentation adds a sense of realism and complicates it a bit. Looking at the child featured across the frame, though, there is a quiet quality, but also maybe slight unease or discomfort, despite being with loved ones during New Years. Do you think Frank's own life impacted the feeling of alienation or tension captured within his images? Curator: Absolutely, it’s hard not to see Frank’s outsider status, a Swiss immigrant in post-war America, reflected in his gaze. His work, "The Americans," is filled with that same bittersweet honesty, revealing beauty and ugliness without romanticizing either. Frank offers us a look into humanity as an imperfect process and captures moments that don't neatly resolve. What resonates with you most? Editor: It makes me think about how even in moments meant for celebration, there can be complex, conflicting emotions. It really breaks the typical, idealised image of family. Thanks, that's given me a lot to consider. Curator: And for me as well. Thanks for your refreshing insight. It feels as though this art piece challenges traditional notions of identity, offering a more profound understanding that resides beyond superficial details.