Paris 63B/Black White and Things 11 1951 - 1952

Editor: This is Robert Frank’s "Paris 63B/Black White and Things 11," created between 1951 and 1952, a gelatin silver print. It looks like a series of street scenes, a whole contact sheet of captured moments. What can you tell me about how photography, and street photography in particular, functions as a public art here? Curator: Well, Frank challenges traditional notions of what photographs are meant to represent. Think about the cultural context in the post-war era; the rise of documentary photography, seeking some kind of social truth, meets artistic expression. Instead of idealized representations of Parisian life, we see seemingly random moments – snippets of crowds, a tree, a café scene – that build up to something else, right? Editor: Build up to... what exactly? Curator: That’s the key. It is not about capturing one perfect shot. It’s about the power of juxtaposition, the implied narrative created by placing these different images together. Consider what that does politically; think about the choices involved when showing everyday life of this era through photography. Do you feel that it presents an obvious message, or do the collection of images add a social component? Editor: I see what you mean. It feels less like photojournalism aiming for objectivity, and more like an artist using photography to express a feeling or an idea about city life. The imperfections and raw presentation almost make it more authentic. Curator: Exactly. Frank wasn’t simply documenting; he was curating reality and the audience’s expectations. It is an important piece because of what it signifies for modern photography. Editor: I had not considered the curation aspect so literally here before; it adds a whole new layer. Thanks! Curator: Likewise; looking at familiar art with new perspective like this, keeps things interesting!