Ed Ruscha writes “[Frank’s] achievement could not be imitated in any way, because he had already done it, sewn it up and gone home. What [he] was left with was the vapors of his talent. I had to make my own kind of art. But wow! The Americans!” Robert Frank’s ‘The Americans’, published in 1958, was highly influential in post-war American photography.
Frank writes in U.S. Camera Annual (1958) “with these photographs, I have attempted to show a cross-section of the American population. My effort was to express it simply and without confusion. The view is personal and, therefore, various facets of American life and society have been ignored. The photographs were taken during 1955 and 1956; for the most part in large cities such as Detroit, Chicago, Los Angeles, New York and in many other places during my Journey across the country….
I have been frequently accused of deliberately twisting subject matter to my point of view. Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. It is important to see what is invisible to others—perhaps the look of hope or the look of sadness. Also, it is always the instantaneous reaction to oneself that produces a photograph…
My photographs are not planned or composed in advance and I do not anticipate that the on-looker will share my viewpoint. However, I feel that if my photograph leaves an image on his mind—something has been accomplished.”
jack kerouac on frank
“That crazy feeling in America when the sun is hot on the streets and music comes out of the jukebox or from a nearby funeral, that’s what Robert Frank has captured in these tremendous photographs taken as he travelled on the road around practically forty-eight states in an old used car (on Guggenheim Fellowship) and with the agility, mystery, genius, sadness and strange secrecy of a shadow photographed scenes that have never been seen on film… After seeing these pictures you end up finally not knowing any more whether a jukebox is sadder than a coffin”
Kerouac also said on Frank that “he sucked a sad poem right out of America onto film, taking rank among the tragic poets of the world.”
Susan Sontag in ‘On Photography’ posits ‘Americans feel the reality of their country to be so stupendous, and mutable, that it would be the rankest presumption to approach it in a classifying, scientific way… One could get at it indirectly, by subterfuge – breaking it off into strange fragments that could somehow, by synecdoche, be taken for the whole.’