U.S. CAMERA 1958 (1957)
One of the most sought after years of US Camera because of ROBERT FRANK's 24 page portfolio of The Americans, accompanied by a short essay by Walker Evans. Other portfolios are by Brassai, Andreas Feninger, Michael Wolgensinger, Harold Feinstein, and more; Fashion by Avedon, Irving Penn, Bert Stern, Munkacsi, etc. and many fine pictures by over 50 photographers incl. Bill Brandt, Dorthea Lange, Winquist, and so on. Special Reports on Hungary's bloody Fight for Freedom as well as Rockets and Missiles. Most photographs are in black & white, one section of Color. 302 pages, the last pages contain advertising.
Robert Frank, in his house in Nova Scotia, 1969-1971, photograph by Walker Evans
© Walker Evans Archive, The Metropolitan Museum of Art
Photographers are often surprised at some of the images they find on their films. But is it an accident that Frank snapped just as those politicians in high silk hats were exuding the utmost fatuity that even a small office-seeker can exhibit. Such strikes are not purely fortuitous. They happen consistently for expert practitioners. Still, there remains something mysterious about their occurrence, for which an analytical onlooker can merely manufacture some such nonsensical phrase as "the artist’s crucial choice of action."
But these examples are not the essence of Frank’s vision, which is more positive, large, and basically generous. The simple picture of a highway is an instance of Frank’s style, which is one of the few clear cut signatures possessed by any of the younger photographers. In this picture, instantly you find the continent. The whole page is haunted with American scale and space, which the mind fills quite automatically—though possibly with memories of negation of violence or of exhaustion with thoughts of bad cooking, extremes of heat and cold, law enforcement, and the chance to work hard in a filling station.
That Frank has responded to America with many tears, some hope, and his own brand of fascination, you can see in looking over the rest of this pictures of people, of roadside landscapes and urban cauldrons and of semi-divine, semi-satanic children. He shows high irony towards a nation that generally speaking has it not; adult detachment towards the more-or-less juvenile section of the population that came into his view. This bracing, almost stinging manner is seldom seen in a sustained collection of photographs. It is a far cry form all the woolly, successful "photo-sentiments" about human familyhood; from the mindless pictorial salestalk around fashionable, guilty and there fore bogus heartfeeling.
Irony and detachment: these are part of the equipment of the critic. Robert Frank, though far, far removed from the arid pretensions of the average sociologist, can say much of the social critic who has not waylaid his imagination among his footnotes and references. Now the United States, be it said, will welcome criticism, and use it. At its worst moments, the U.S.A. today may seem to think it is literally illuminated by the wide smile of one man, and saved for something-or-other by energy and money alone. But worse moments are the province and the mainstay of the daily newspaper.
For the thousandth time, it must be said that the pictures speak for themselves, wordlessly, visually—or they fail. But if those pictures chose to speak, they might well use the words George Santayana once wrote in a small preface about the United States:
"…the critic and artist too have their rights… Moreover, I suspect that my feelings are secretly shared by many people in America, natives and foreigners, who many not have the courage or the occasion to express them frankly… In the classical and romantic tradition of Europe, love, of which there was very little, was supposed to be kindled by beauty, of which there was a great deal; perhaps moral chemistry may be able to reverse this operation, and in the future and in American it may breed beauty out of love."