Which writer wrote the introduction for Robert Frank's influential photography book The Americans (1958) that contained images from Frank's travels across the US?
"""Popular Photography"", for one, derided Frank's images as ""meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness."" This stands in contrast to Walker Evans' ""American Photographs"", a direct inspiration to Frank, with its rigidly framed images shot via large-format viewcamera. Though sales were also poor at first, Kerouac's introduction helped it reach a larger audience because of the popularity of the Beat phenomenon. Over time and through its inspiration of later artists, ""The Americans"" became considered a seminal work in American photography and art history, and the work with which Frank is most clearly identified. Sociologist Howard S. Becker"
"The Americans (photography) The Americans is a photographic book by Robert Frank which was highly influential in post-war American photography. It was first published in France in 1958, and the following year in the United States. The photographs were notable for their distanced view of both high and low strata of American society. The book as a whole created a complicated portrait of the period that was viewed as skeptical of contemporary values and evocative of ubiquitous loneliness. ""Frank set out with his Guggenheim Grant to do something new and unconstrained by commercial diktats"" and made ""a now classic photography"
"endpaper. As he has done for every edition of ""The Americans"", Frank changed the cropping of many of the photographs, usually including more information, and two slightly different photographs were used. The Americans (photography) The Americans is a photographic book by Robert Frank which was highly influential in post-war American photography. It was first published in France in 1958, and the following year in the United States. The photographs were notable for their distanced view of both high and low strata of American society. The book as a whole created a complicated portrait of the period that was viewed as"
"Robert Frank Robert Frank (born November 9, 1924) is a Swiss-American photographer and documentary filmmaker. His most notable work, the 1958 book titled ""The Americans"", earned Frank comparisons to a modern-day de Tocqueville for his fresh and nuanced outsider's view of American society. Critic Sean O'Hagan, writing in ""The Guardian"" in 2014, said ""The Americans"" ""changed the nature of photography, what it could say and how it could say it. [ . . . ] it remains perhaps the most influential photography book of the 20th century."" Frank later expanded into film and video and experimented with manipulating photographs and"
"ran the publisher Delpire & Co., which has continued to produce books under the name Éditions Delpire by photographers such as Carier-Bresson, Lartigue, Brassaï, Doisneau, Frank and many others. Delpire & Co. published a series of books on culture called ""Encyclopédie Essentielle"". In 1957 the fifth work in ""Encyclopédie Essentielle"" was the first publication of Robert Frank’s ""Les Américains"" (""The Americans""). ""The Americans"" was ""One of Delpire's pivotal contributions to photography"": it ""changed the nature of photography, what it could say and how it could say it. [ . . . ] it remains perhaps the most influential photography book"
". . . ] it remains perhaps the most influential photography book of the 20th century."" In 1961, Frank received his first individual show, entitled ""Robert Frank: Photographer"", at the Art Institute of Chicago. He also showed at the Museum of Modern Art in New York in 1962. To mark the fiftieth anniversary of the first publication of ""The Americans"", a new edition was released worldwide on May 30, 2008. For this new edition from Steidl, most photographs are uncropped (in contrast to the cropped versions in previous editions), and two photographs are replaced with those of the same subject"
"has written about ""The Americans"" as social analysis: Robert Frank's (...) enormously influential ""The Americans"" is in ways reminiscent both of Tocqueville's analysis of American institutions and of the analysis of cultural themes by Margaret Mead and Ruth Benedict. Frank presents photographs made in scattered places around the country, returning again and again to such themes as the flag, the automobile, race, restaurants—eventually turning those artifacts, by the weight of the associations in which he embeds them, into profound and meaningful symbols of American culture. Frank's divergence from contemporary photographic standards gave him difficulty at first in securing an American"
"recommendation of Evans (a previous recipient), Alexey Brodovitch, Alexander Leiberman, Edward Steichen, and Meyer Schapiro, Frank secured a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation in 1955 to travel across the United States and photograph all strata of its society. He took his family along with him for part of his series of road trips over the next two years, during which time he took 28,000 shots. Only 83 of those were finally selected by him for publication in ""The Americans"". Sean O'Hagan, writing in ""The Guardian,"" about the inclusion of ""The Americans"" as the starting point in"
"""The Americans"" published in France in 1958 (Robert Delpire) and the USA the following year (Grove Press), the result of his two Guggenheim grants, can also be considered an extension of the humanist photography current in the USA which had a demonstrable impact on American photography. Typically humanist photographers harness the photograph's combination of description and emotional affect to both inform and move the viewer, who may identify with the subject; their images are appreciated as continuing the pre-war tradition of photo reportage as social or documentary records of human experience. It is praised for expressing of humanist values such"
"times"". Critics, such as Jacob Deschin writing in ""The New York Times"", were sceptical. Neither Arbus, Friedlander nor Winogrand ""was well known at the time but all of them came to be considered among the leading talents of their generation"" and ""considered among the most decisive for the generations of photographers that followed them."" Robert Frank's influential book of photographs, ""The Americans"", was published in 1958. In the wall text for ""New Documents"", John Szarkowski ""suggested that until then the aim of documentary photography had been to show what was wrong with the world, as a way to generate interest"
"of the content of 83 photographs from Robert Frank's celebrated photobook, ""The Americans"", leaving only occasional remnants of the historic images. In an interview with the ""New York Times"", he describes the erasure of Frank's photobook as an homage to Robert Rauschenberg who similarly created controversy in 1953 with his work ""Erased de Kooning Drawing"". Henner discusses the work in terms of blurring the boundaries of authorship and ownership: ""The Americans"" is one of documentary photography's most revered works and Henner's book resulted in mixed reviews. ""The Guardian's"" Sean O'Hagan described it as ""either inspired or provocative-to-the-point-of-insulting to the original"""
"photographic techniques. This divergence from contemporary photographic standards gave Frank difficulty at first in securing an American publisher. ""Les Américains"" was first published in 1958 by Robert Delpire in Paris, as part of its ""Encyclopédie Essentielle"" series, with texts by Simone de Beauvoir, Erskine Caldwell, William Faulkner, Henry Miller and John Steinbeck that Delpire positioned opposite Frank's photographs. It was finally published in 1959 in the United States, without the texts, by Grove Press, where it initially received substantial criticism. ""Popular Photography"", for one, derided his images as ""meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness."" Though sales"
"The New York School of photography was not a formal institution, but rather comprised groups of photographers in the mid-20th century based in New York City. Robert Frank's 1958 book, ""The Americans"", was significant; raw and often out of focus, Frank's images questioned mainstream photography of the time, ""challenged all the formal rules laid down by Henri Cartier-Bresson and Walker Evans"" and ""flew in the face of the wholesome pictorialism and heartfelt photojournalism of American magazines like LIFE and Time"". Although the photo-essay format was formative in his early years in Switzerland, Frank rejected it: ""I wanted to follow my"
"videos for artists such as New Order (""Run""), and Patti Smith (""Summer Cannibals""). Frank continues to produce both films and still images, and has helped organize several retrospectives of his art. His work has been represented by Pace/MacGill Gallery in New York since 1984. In 1994, the National Gallery of Art in Washington, D.C. presented the most comprehensive retrospective of Frank's work to date, entitled ""Moving Out"". Robert Frank Robert Frank (born November 9, 1924) is a Swiss-American photographer and documentary filmmaker. His most notable work, the 1958 book titled ""The Americans"", earned Frank comparisons to a modern-day de Tocqueville"
"to the book. Also exhibited were three collages (made from more than 115 original rough work prints) that were assembled under Frank's supervision in 2007 and 2008, revealing his intended themes as well as his first rounds of image selection. An accompanying book, also titled ""Looking In: Robert Frank's The Americans"", was published, the most in-depth examination of any photography book ever, at 528 pages. While working as a guard at the Metropolitan Museum of Art, Jason Eskenazi asked other noted photographers visiting the ""Looking In"" exhibition to choose their favorite image from ""The Americans"" and explain their choice, resulting"
"contributed the introduction to the U.S. edition of ""The Americans"". Frank also became lifelong friends with Allen Ginsberg, and was one of the main visual artists to document the Beat subculture, which felt an affinity with Frank's interest in documenting the tensions between the optimism of the 1950s and the realities of class and racial differences. The irony that Frank found in the gloss of American culture and wealth over this tension gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting and cropping that deviated from accepted"
"publisher. was first published on 15 May 1958 by Robert Delpire in Paris as part of its ""Encyclopédie Essentielle"" series. Writings by Simone de Beauvoir, Erskine Caldwell, William Faulkner, Henry Miller and John Steinbeck were included, that Delpire positioned opposite Frank's photographs. Many thought that Frank's photos served more to illustrate the writing rather than the converse. The cover was decorated with a drawing by Saul Steinberg. In 1959, ""The Americans"" was finally published in the United States by Grove Press, with the text removed from the French edition due to concerns that it was too un-American in tone. The"
"""Fortune"" and other magazines, a period that has gone largely unnoticed, with Evans ""lauded for every part of his creative career except for his magazine work."" Krystal Grow, writing in ""Time"", praised Campany's book as ""Exhaustively researched and meticulously edited"". In ""The Open Road: Photography & the American Road Trip"" (2014) Campany introduces the road trip as a photographic genre, the first book to do so. It includes writing by Campany and photographs by Robert Frank (from ""The Americans""), Ed Ruscha, Inge Morath (from ""The Road to Reno""), Garry Winogrand, William Eggleston, Lee Friedlander, Joel Meyerowitz, Jacob Holdt (from ""American"
"making them more widely available in the last half-century than the work of any other comparable artist. Almost contemporaneously in the United States, Ed Ruscha (1937–present) printed his first book, ""Twentysix Gasoline Stations"", in 1963 in an edition of 400, but had printed almost 4000 copies by the end of the decade. The book is directly related to American photographic travelogues, such as Robert Frank's ""The Americans""' (1965), but deals with a banal journey on route 66 between Ruscha's home in Los Angeles and his parents' in Oklahoma. In one of the defining innovations of the genre, Ruscha chose to"
"to Guido Magnaguagno and ""Fabrik"", as a photo book, was a model for Frank’s Les Américains ('The Americans') published ten years later in Paris by Delpire, in 1958. He soon left to travel in South America and Europe. He created another hand-made book of photographs that he shot in Peru, and returned to the U.S. in 1950. That year was momentous for Frank, who, after meeting Edward Steichen, participated in the group show ""51 American Photographers"" at the Museum of Modern Art (MoMA); he also married fellow artist Mary Frank née Mary Lockspeiser, with whom he had two children, Andrea"
"but from an alternate perspective. A celebratory exhibit of ""The Americans"", titled ""Looking In: Robert Frank's The Americans"", was displayed in 2009 at the National Gallery of Art in Washington, D.C., the San Francisco Museum of Modern Art (SFMOMA), and at the Metropolitan Museum of Art in New York. The second section of the four-section, 2009, SFMOMA exhibition displays Frank's original application to the John Simon Guggenheim Memorial Foundation (which funded the primary work on ""The Americans"" project), along with vintage contact sheets, letters to photographer Walker Evans and author Jack Kerouac, and two early manuscript versions of Kerouac's introduction"
"in print. Frank's contributions had been taken in Spain (of a woman kissing her swaddled babe-in-arms), of a bowed old woman in Peru, a rheumy-eyed miner in Wales, and the others in England and the USA, including two (one atypically soft-focus) of his wife in pregnancy, and one of six laughing women in the window of the White Tower Hamburger Stand on Fourteenth Street, New York City, later included in ""The Americans"". Inspired by fellow Swiss Jakob Tuggener's 1943 filmic book ""Fabrik,"" Bill Brandt's ""The English at Home"" (1936), and Walker Evans ""American Photographs"" (1938), and on the recommendation of"
"has photographed extensively in China, the Appalachian Mountains in the USA and the former Sovjet Union. Her work has been exhibited by many photography institutions such as the Museum of Modern Art, New York, the Maison Européenne de la Photographie in Paris, the Stedelijk Museum Amsterdam and the Fotomuseum Winterthur. Bertien van Manen's work is found in major collections, both public and private and exhibited internationally. Bertien van Manen started her photography career in 1974 as a fashion photographer after studying French language and literature at the University of Leiden. Inspired by Robert Frank's book ""The Americans"" (1958), van Manen"
"produce, what he hoped, was a type of stability in the ebb and flow of the modern world. Snapshot aesthetic The term snapshot aesthetic refers to a trend within fine art photography in the USA from around 1963 . The style typically features apparently banal everyday subject matter and off-centered framing. Subject matter is often presented without apparent link from image-to-image and relying instead on juxtaposition and disjunction between individual photographs. The originator of this aesthetic was Robert Frank, with his book of photographs, ""The Americans"", published in 1958. The snapshot tendency was promoted by John Szarkowski, who was head"
"""The Americans"". Frank found a tension in the gloss of American culture and wealth over race and class differences, which gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting and cropping that deviated from accepted photographic techniques. The book initially received harsh criticism in the US, where the tone of the book was perceived as derogatory to national ideals. Much of the criticism Frank faced was as well related to his photojournalistic style, wherein the immediacy of the hand-held camera introduced technical imperfections into the resulting images."
"publishing his second photographic book, ""The Lines of My Hand"", in 1972. This work has been described as a ""visual autobiography"", and consists largely of personal photographs. However, he largely gave up ""straight"" photography to instead create narratives out of constructed images and collages, incorporating words and multiple frames of images that were directly scratched and distorted on the negatives. None of this later work has achieved an impact comparable to that of ""The Americans."" As some critics have pointed out, this is perhaps because Frank began playing with constructed images more than a decade after Robert Rauschenberg introduced his"
"Michael Wolgensinger (1913–1990) who felt that Frank would never fit the commercial system. Tuggener, as a serious artist who had left the commercial world behind, was the “one Frank really did love, from among all Swiss photographers,” according to Guido Magnaguagno and Tuggener's ""Fabrik"" (1943), as a photo book sequenced poetically and conceived without text like a silent movie, was a model for Frank's conception of ""Les Américains"" published fifteen years later in Paris by Delpire, in 1958. Inspired by fellow Swiss Tuggener's book, Bill Brandt's ""The English at Home"" (1936), and Walker Evans ""American Photographs"" (1938), and on the"
"do this, she used image creation, reports and studio video installations. One of her commonly used techniques was to set up a portable studio in a public place such as a market square and to invite interested passers-by to be photographed. Alaoui stated that her inspiration for this type of portrait photography came from Robert Frank's portrayal of Americans in the post-war era, such as in ""The Americans"" (1958). Alaoui often emphasizes her subjects, minimizing the background of some of her portraits. Art critics described her work as ""post-Oriental"", referring to the theory of Orientalism proposed by Edward Said. Her"
"exemplified by his work in the 1950s, published in the United States in his 1959 book, ""The Americans"". In the early 1960s, his influence on photographers like Garry Winogrand and Lee Friedlander resulted in an important exhibition at the Museum of Modern Art (MoMA), which brought those two photographers together with their colleague Diane Arbus under the title, ""New Documents"". MoMA curator John Szarkowski proposed in that exhibition that a new generation, committed not to social change but to formal and iconographical investigation of the social experience of modernity, had replaced the older forms of social documentary photography. In the"
"painting and photography. Upon graduation, he took a job as a picture researcher in the Time-Life Picture Collection, which gave him first-hand exposure to the photographs of Walker Evans, Margaret Bourke-White, Robert Capa, W. Eugene Smith, and Alfred Eisenstaedt, among a roster of other photographers who had set a standard for photojournalism in the twentieth century. Following that, he took a job at Aperture Foundation, where, as assistant editor, he worked on the Aperture History of Photography series and on publications such as ""Edward Weston: Nudes""; ""America and Lewis Hine""; and the re-publication of Robert Frank's ""The Americans"". In 1982,"
"Snapshot aesthetic The term snapshot aesthetic refers to a trend within fine art photography in the USA from around 1963 . The style typically features apparently banal everyday subject matter and off-centered framing. Subject matter is often presented without apparent link from image-to-image and relying instead on juxtaposition and disjunction between individual photographs. The originator of this aesthetic was Robert Frank, with his book of photographs, ""The Americans"", published in 1958. The snapshot tendency was promoted by John Szarkowski, who was head of the photography department at the Museum of Modern Art from 1962 to 1991, and it became especially"
"own intuition and do it my way, and not make any concession – not make a Life story’. Even the work of Cartier-Bresson he regarded as insufficiently subjective: ""I’ve always thought it was terribly important to have a point of view, and I was also sort of disappointed in him [Cartier-Bresson] that that was never in his pictures’. Frank’s work thus epitomises the subjectivity of postwar American photography, as John Szarkowski prominently argued; ""Minor White’s magazine ""Aperture"" and Robert Frank’s book ""The Americans"" were characteristic of the new work of their time in the sense that they were both uncompromisingly"
"David Campany's critical journey into the photographic road trip, ""The Open Road"" (2014), said ""Swiss-born Frank set out with his Guggenheim Grant to do something new and unconstrained by commercial diktats. His aim was to photograph America as it unfolded before his somewhat sombre outsider's eye. From the start, Frank defined himself against the traditional ""Life"" magazine school of romantic reportage."" Frank's journey was not without incident. While driving through Arkansas, Frank was arbitrarily thrown in jail for three days after being stopped by the police who accused him of being a communist (their reasons: he was shabbily dressed, he"