Robert Frank et les Américains – Gonzaï
▻http://gonzai.com/robert-frank-et-les-americains
#Robert_Frank est mort ce lundi 9 septembre à l’âge de 94 ans. L’année dernière, il fêtait les 60 ans de la publication de l’un des livres de photo les plus célèbres : Les Américains. En voici un making off, publié précédemment dans le numéro 26 de #Gonzaï Magazine.
Les Américains de Robert Frank réédité chez Delpire
▻https://www.mowwgli.com/42758/2018/08/14/americains-de-robert-frank-reedite-chez-delpire
A l’occasion des 60 ans de la première publication du livre « Les Américains » de Robert Frank, les éditions Delpire viennent de rééditer l’ouvrage culte ! Car si il y a un livre qui aura marqué l’histoire de la photographie, c’est sans aucun doute celui ci, « Les Américains » fait naître une nouvelle iconographie qui aura marqué des générations de photographes…
Cette nouvelle réédition a été revue et corrigée par Robert Frank lui-même, qui se rapproche d’avantage à l’édition américaine.
@philippe_de_jonckheere
#robert_frank #Les Américains #livre #photographe #60ans
Merci @marie_lou Je vais finir par avoir dans ma bibliothèque autant de versions de ce livre qu’il existe de tomes dans La Recherche
@philippe_de_jonckheere Je n’en doute pas, Philippe. C’est bon de te revoir ici. ;-)
Robert Frank - L’Amérique dans le viseur
►http://www.arte.tv/fr/videos/050350-000-A/robert-frank-l-amerique-dans-le-viseur
Figure marquante de la photographie de la seconde moitié du XXe siècle, #Robert_Frank a fait de l’image le matériau premier de sa créativité. Compagnon de route du mouvement beatnik, auteur de l’ouvrage culte « Les Américains », il se livre avec générosité et humour dans ce portrait passionnant.
Encouragé par son aîné Walker Evans, l’Américano-Suisse Robert Frank laissera sa trace dans l’histoire de la #photographie. Pour lui, tout commence avec « Les Américains », son premier livre. Publié à la fin des années 1950, l’ouvrage réunit 83 clichés, savamment choisis parmi les plus de 20 000 qu’il a collectés au fil des trente étapes d’un long périple à travers les États-Unis. « Les visages sont plus intéressants que les paysages, alors je me suis concentré pour me rapprocher des gens », précise le photographe, lorsqu’il raconte la genèse de son deuxième « road trip », effectué après plusieurs mois passés au Pérou. Saisis dans la banalité du quotidien, ses portraits d’hommes et de femmes, travailleurs modestes des villes et des campagnes, ont donné chair aux grands oubliés du rêve américain de l’après-guerre. « À l’époque, rappelle-t-il, la plupart des critiques ont été assez méchants. Ils ont dit : ’Ce type doit haïr l’Amérique pour photographier des gens comme ça.’ [...] J’étais un chasseur. Un chasseur d’images ; ce voyage m’a appris à l’aimer. »
LUMIÈRES DU SUD… — 2/4
▻http://www.larevuedesressources.org/lumieres-du-sud-2-4,2949.html
LUMIÈRES DU SUD… (cahier du photographe) 83 poèmes… …en suivant 83 photographies de Robert Frank toutes tirées de son livre LES AMÉRICAINS THE AMERICANS 1958, 1985, 1993 pour les photographies de Robert Frank & Delpire Éditeur, 2009 N.b. le titre de chaque poème de Lionel Marchetti correspond à la légende de chaque photographie originale de Robert Frank ; l’ordre chronologique du livre est respecté ; lorsqu’une photographie est par contre ici absente — une cinquantaine de photographies sont (...)
Poésie
New York: Autos wie Hollywood-Stars | ZEIT ONLINE
▻http://www.zeit.de/mobilitaet/2017-01/new-york-autos-siebziger-jahre-usa-fs
Endlose Highways, breite Straßen, kostenlose Parkplätze: Die USA waren im 20. Jahrhundert das Land der Autos. Die darum auch Dickschiffe sein durften. Das zeigen die Fotografien von Langdon Clay. Er zog in den 1970er Jahren abends durch New York City und hielt die Autos am Straßenrand im Bild fest. Wie Filmstars auf dem roten Teppich sind sie von den Laternen ausgeleuchtet, zugleich geben die Aufnahmen einen Eindruck vom Zustand New Yorks in jener Zeit. Clays Bildband CARS – New York City, 1974-1976 ist im Verlag Steidl erschienen.
merci @klaus en naviguant dans ton poste j’ai trouvé ce lien vers un de mes photographe favori.
Robert Frank. His The Americans is arguably the most important American photography publication of the postwar period, and his work has spawned numerous disciples, as well as a rich critical literature. It is less known that at the very moment he became a star—the end of the 1950s—Frank chose to abandon still photography for more than ten years in order to immerse himself in filmmaking. He did return to photography in the 1970s, but Frank the filmmaker has remained a well-kept secret for almost four decades. A compilation examining his missing years is long overdue
▻https://steidl.de/Books/Film-Works-0227425255.html?SID=zSovvXwc4b83
▻https://steidl.de/Artists/Robert-Frank-1013194243.html
#robert_frank #photograph
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Finding Robert
Frank, Online
The cover image for the U.S. edition of “The Americans,” Robert Frank’s epochal #book, spoke volumes about the state of the nation in the mid-#1950s. The tightly-cropped photo shows passengers in the windows of a #New_Orleans trolley assuming their place in the social order of the Jim Crow South — progressing from a black woman in the rear to white children and adults up front (slide 4).
The contact sheet that contained the image showed that Mr. Frank had photographed the city from multiple perspectives, but he ultimately selected the frame that most dramatically and symbolically captured New Orleans’ racial hierarchy. Learning this photo’s backstory would be impossible without the ability to view Mr. Frank’s contact sheet. Now, such important archival material, typically reserved for scholars and curators, is just a click away. Launched by the National Gallery of Art in time for photographer’s 90th birthday in November, the Robert Frank Collection Guide is an extraordinary resource for the general public and researchers alike.
The online guide is a first for a photographer in the National Gallery collection. Mr. Frank’s work was selected because it constitutes the museum’s largest and most complex holding by a single photographer. Spanning his career from 1937 to 2005, the collection includes more than 8,000 items, including vintage and later prints, work prints, negatives, contact sheets, technical material, recordings, and ephemera. Nearly all of these artifacts were acquired from Mr. Frank in stages over the past twenty-five years.
The guide’s production was overseen by Sarah Greenough, senior curator and head of the department of photography at the National Gallery, with a web team that included Sarah Gordon, who wrote most of site’s content, and John Gordy, who designed it.
“Because of the size, scope, and complexity of our Frank Collection,” Ms. Greenough said, “I realized many years ago that we needed such a finding guide. Yet it was while I was working on our exhibition and publication ‘Looking In: Robert Frank’s The Americans’ that I fully understood how hard it could be determine all the different iterations — from contact sheets, to work prints, to finished exhibition prints — that we might have of any one image. From then on, I knew that it was a project we had to undertake.”
Ms. Greenough would appear to be the perfect steward of Mr. Frank’s archive. She discovered “The Americans” in college and remembered being particularly fascinated by one photograph, “Canal Street, New Orleans,” especially by the expression on the face of a young girl being carried by her father.
“The girl seemed to express all the confused, uncertain feelings I had as a young person about American society and culture,” Ms. Greenough said. “That picture, along with others in ‘The Americans,’ made me realize for the first time how profoundly moving and important photography could be when done by someone like Robert Frank.”
Ms. Greenough’s scholarship on Mr. Frank reached its apex in “Looking In,” the traveling exhibition she organized for the National Gallery in 2009. The show was uncommonly rigorous, revealing myriad details about the conception and creation of “#The_Americans.” It was also visually bracing. Vintage photographs of differing sizes were arranged in groups that followed the sequencing of the book, producing dramatic shifts in scale, emphasis, and visual points of view.
Contact sheets and work prints provided greater context for the exhibition, and contributed to a viewing experience that was wholly different from reading “The Americans,” yet offering an array of new facts and observations about it. One wall, for example, was covered with tattered work prints, yielding insights into Mr. Frank’s process of selecting and rejecting images for the final work.
Like the exhibition, the catalog for “Looking in” was distinguished by its rigorous scholarship. Its expanded, special edition, which included the full contents of “The Americans,” as well as scholarly essays, facsimiles of contact sheets, photographer notes and correspondences, and other archival materials, functioned much like a massive and comprehensive finding guide, though limited to only one of Mr. Frank’s projects.
The online collection guide captures much of this dynamism. While it includes only a modest portion of the museum’s holdings at this point, it provides access to a broad range of images and information. And like “Looking In,” it helps us to better understand the work of one of the most important and influential photographers of the past seventy-five years. It also serves as a template for the National Gallery’s next online guide, documenting its large collection of Alfred Stieglitz photographs.
Ms. Greenough anticipates that the guide will serve a number of audiences and functions. “We hope that the general public will find it an informative overview of Frank’s work and his seminal contributions to American art and culture,” she said. “We also expect that scholars and photographers who want to study Frank’s work in-depth will discover vast amounts of information about him and his art that is not available anyplace else.”
Maurice Berger is a research professor and the chief curator at the Center for Art Design and Visual Culture at the University of Maryland, Baltimore County, and a consulting curator at the Jewish Museum in New York.
▻http://lens.blogs.nytimes.com/2015/01/14/finding-robert-frank-online/?module=BlogPost-Title&version=Blog%20Main&contentCollection=Mul
#robert_frank #photo #photographie #photo #reportage #USA #Us
