Edgard Varèse for "Harper's Bazaar" 3 1962

Editor: So, here we have Robert Frank’s 1962 work, "Edgard Varèse for Harper's Bazaar 3", a photographic contact sheet, complete with editing marks. I find the repetitive nature of the images quite striking, yet each frame seems to capture something subtly different about Varèse's posture or the angle of his desk. What stands out to you? Curator: The grid-like structure of the contact sheet immediately directs the viewer’s eye. Consider the red markings—gestural, almost violent in their application. They serve as a meta-commentary, highlighting the decision-making process inherent in image selection. The contrast of the black and white photography adds to the high drama of the picture. How does this compare to his street photography, where his figures blend with shadows? Editor: That's interesting. I see the red markings now, almost obscuring some of the images, a disruption to the repetition. While the overall structure feels planned, those additions feel chaotic. Do you think the contrast here tells us something about the man, Varèse? Curator: Not just the man himself but also the mode of representation. Frank, like Varèse in music, pushes against traditional harmony—the even exposure, balanced composition expected of portraiture. Instead, he reveals the rawness, the behind-the-scenes labor involved in creating the final polished image for a fashion magazine. Does this raw appeal enhance or distract from our appreciation? Editor: I see your point about pushing against harmony! The rough editing juxtaposed against the more refined subject in other images gives me a renewed appreciation for Frank’s artistic approach and how he seemed to reveal the less polished, more laborious and human aspect of art. Curator: Precisely. The materiality of the photograph becomes part of the artistic statement, inviting us to contemplate not just the subject, but the artistic labor of portraiture.