Guggenheim 685/Americans 32--U.S. 91, leaving Blackfoot, Idaho 1956

Robert Frank's photographic contact sheet presents us with a series of images taken in 1968, a visual diary of sorts, documenting his journey through Blackfoot, Idaho. Imagine Frank, squinting through the lens, capturing snippets of American life, a driver behind the wheel, roadside diners, and townscapes. He's like a painter, layering moments and impressions, building up a portrait of a place, its people, and their stories. Each frame offers a glimpse into Frank's process—the raw, unfiltered observations that would eventually distill into his iconic vision of America. It reminds me of flicking through a sketchbook of a painter, spying on their first thoughts. The red outlines around certain frames, like a painter's emphatic marks, highlight particular areas of interest, emphasizing key motifs. I can feel him making a choice, this one not that one, the essential act of art. It’s like Frank is in conversation with painters across time, each inspiring and challenging the other, seeking new ways of seeing and representing the world. It's not so different than my own painting practice.