拍品 1

The complexity of photographing comes out of yourself...out of your inner world, how you eliminate all the things that you work on. You photograph by process of elimination. By eliminating you come into the core of what you want to express, of what is the best that you have to express. - Robert Frank

Robert Frank (b. 1924)

Political Rally - Chicago, 1956

细节

Robert Frank (b. 1924)
Political Rally - Chicago, 1956
gelatin silver print, printed c. 1970
signed, titled and dated in ink (in the margin)
11 3/8 x 7 3/8in. (29 x 18.7 cm.)

出版

'A Pageant Portfolio: One Man's U.S.A.' Pageant, vol. 13, no. 10, April 1958, p. 27; Frank, Les Américains, Delpire, 1958, [pl. 58], p. 121; Frank, The Americans, Grove Press, 1959, [pl. 58], n.p., and in all subsequent editions; Evergreen Review, no. 15, November-December 1960, front cover; Newhall, The History of Photography: From 1839 to the Present Day, 4th revised and enlarged ed., The Museum of Modern Art, 1964, p. 200, variant cropping includes face of woman at right; Szarkowski, The Photographer's Eye, The Museum of Modern Art, 1966, p. 152; Szarkowski, Looking at Photographs, The Museum of Modern Art, 1973, p. 177; Robert Frank, Aperture, 1976, p. 2; Tucker and Brookman, eds., Robert Frank: New York to Nova Scotia, Museum of Fine Arts, Houston, 1986, p. 33, variant cropping includes face of woman at right; Greenough and Brookman, eds., Robert Frank: Moving Out, National Gallery of Art, 1994, p. 180, variant cropping includes face of woman at right

拍品专文

At the urging of John Szarkowski, the distinguished photohistorian Beaumont Newhall included Robert Frank, represented by this photograph, as one of only four 'contemporary' photographers in the 1964 revision of his seminal History of Photography. Later, Szarkowski wrote about this photograph, 'Robert Frank's fine flatulent black joke on American politics can be read as either farce or anguished protest. ... From the fine shiny sousaphone rises a comic strip balloon that pronounces once more the virtue of ritual patriotism.' (Szarkowski, Looking at Photographs, The Museum of Modern Art, 1973, p. 176)