First published in France in 1958, then in the United States in 1959, Robert Frank's The Americans changed the course of twentieth-century photography. In eighty-three photographs, Frank looked beneath the surface of American life to reveal a people plagued by racism, ill-served by their politicians, and rendered numb by a rapidly expanding culture of consumption. Yet he also found novel areas of beauty in simple, overlooked corners of American life. And it was not just his subject matter - cars, jukeboxes, and even the ...
First published in France in 1958, then in the United States in 1959, Robert Frank's The Americans changed the course of twentieth-century photography. In eighty-three photographs, Frank looked beneath the surface of American life to reveal a people plagued by racism, ill-served by their politicians, and rendered numb by a rapidly expanding culture of consumption. Yet he also found novel areas of beauty in simple, overlooked corners of American life. And it was not just his subject matter - cars, jukeboxes, and even the road itself - that redefined the icons of America; it was also his seemingly intuitive, immediate, off-kilter style, as well as his method of brilliantly linking his photographs together thematically, conceptually, formally, and linguistically, that made The Americans so innovative. More of an ode or a poem than a literal document, the book is as powerful and provocative today as it was fifty years ago. Published to accompany a major exhibition at the National Gallery of Art, the San Francisco Museum of Modern Art, and the Metropolitan Museum of Art, Looking In: Robert Frank's "The Americans" celebrates the fiftieth anniversary of this prescient book. Drawing on newly examined archival sources, it provides a fascinating in-depth examination of the making of the photographs and the book's construction, using vintage contact sheets, work prints, and letters that literally chart Frank's journey around the country on a Guggenheim grant in 1955 -1956. Curator and editor Sarah Greenough and her colleagues also explore the roots of The Americans in Frank's earlier books, which are abundantly illustrated here, and in books by photographers Walker Evans, Bill Brandt, and others. The eighty-three original photographs from The Americans are presented in sequence in as near vintage prints as possible. The catalogue concludes with an examination of Frank's later reinterpretations and deconstructions of The Americans, bringing full circle the history of this resounding entry in the annals of photography. Published alongside the softcover edition, Looking In: Robert Frank's "The Americans" - Expanded Edition includes a wealth of additional materials, essential information for all interested in twentieth-century photography. It contains all of the essays and photographs in the softcover, plus all of Frank's vintage contact sheets related to The Americans, a section that re-creates his preliminary sequence and presents variant croppings of the first and subsequent editions of the book, and a map and chronology, along with letters and manuscript materials by Frank, Walker Evans, and Jack Kerouac related to Frank's Guggenheim fellowship, his travels around the United States in 1955 - 1956, and his construction of the book. This groundbreaking 528-page catalogue is certain to be the definitive source of information on The Americans for years to come.
New. Num Pages: 90 pages, colour illustrations. BIC Classification: AJB. Category: (G) General (US: Trade). Dimension: 189 x 216 x 25. Weight in Grams: 780. 2008. Chinese ed. Hardcover.....We ship daily from our Bookshop.
Fine in fine dust jacket. (FRANK, ROBERT). Frank, Robert. Introduction by Jack Kerouac. ROBERT FRANK: THE AMERICANS. Zurich, SWITZERLAND. 1993 (2000). : Scalo, Fourth Scalo Edition. Oblong Small 4to. Boards in Dust Jacket. Photography Monograph. Fine/Fine. 180pp, profusely illustrated in b&w. Text in English. 1958's "The Americans" is the iconic book that established transplanted Swiss photographer/filmmaker Robert Frank's reputation as one of the great socially conscious post-war essayists. Combined with Jack Kerouac's legendary in your face introduction ("Anybody doesnt like these pitchers dont like potry, see? "), Frank's images reveal an emerging cold war superpower wrestling with its past as it hurtles toward a decade of tumultuous change. A brand new, pristine example of the fourth Scalo printing (whose 1959 first edition is cited on page 247 of Martin Parr and Gerry Badger's "The Photobook: A History Volume I", pages 176-177 of The Hasselblad Center's "The Open Book", page 32 of "From Fair to Fine: 20th Century Photography Books That Matter", page 42 of "From Fair to Fine 2", and pages 150-151 of "The Book of 101 Books"). PLEASE NOTE: Additional shipping costs are required for this item beyond our standard rates due to its weight-we will inform you of the applicable amount at time of purchase. 3-931141-80-2 Inventory Number: 015915.
Eventhough all art comes down to a simple "like it" or "don't like it", great art has an additional bonus: you can appreciate the impact it has, even if you "don't like it", long after the first publication date.
"The Americans" was not an instant success. It had to be published in France with a vivid introduction by Jack Kerouac, to be appreciated back in the States. But as soon as it was known, it was considered a Bible for all the young photographers.
Robert Frank arrived in the U.S.A.in the fifties, from Europe, on a Guggenheim scholarship and he went on photographing America for quite some time, before concluding to the specific order of photos, from the enormous stock of photos he had gathered.
Many things have been said and written about it, but some facts are generally accepted: the unique way he uses his camera, (many vertical shots, the tilted subjects, the poor quality of the photos-technical wise, etc),and his desicion to use such photos (instead of others with better quality ) and in a specific order so that he can develop a narrative.
Eventhough there are various photography books about America, this was (and still is) a fresh way to look at things and at the same time a powerful artistic statement with universal appeal.
Many assumptions have been made about his new way of seeing America. Maybe it was because he was originally from Europe, or perhaps that he was into cinema as well or, even, his turbulent personal life. Probably all at the same time.
A genuine artist with a body of work to back this up. This is his masterpiece and the beginning of the quite revolution in the way of seeing things through a lens.
Alibris, the Alibris logo, and Alibris.com are registered trademarks of Alibris, Inc.
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited, Baker & Taylor, Inc., or by their respective licensors, or by the publishers, or by their respective licensors. For personal use only. All rights reserved. All rights in images of books or other publications are reserved by the original copyright holders.