“WALKER EVANS AND ROBERT FRANK – AN ESSAY ON INFLUENCE BY TOD PAPAGEORGE”//November 24, 2011 at 13:40 pm / THEORY [Essays] The purpose of this monograph is to describe the influence of Walker Evans’ American Photographs (1938) on The Americans (1959) of Robert Frank. To do this, the photographs in the two books have been edited and yoked together in a series of comparisons. What follows, then, is an exercise in speculation, one born of love and respect. It is offered as a working idea rather than an assured truth, a reasoned pretext for returning to the two great books it examines.
Frank’s photographs are printed here according to the way they were cropped in the Grove Press edition (1959) of his book; my discussion of The Americans will be based on this version of it.1 A small black book beautifully printed in gravure, this edition presented Frank’s pictures as a sequence of charged, lyric poems. In the later editions of The Americans (New York, Aperture, 1969; 1978), this sense of intimacy has been lost, both because the printing of the book changed, and because many of the photographs which had been precisely framed in the Grove version have been shown by Frank in these editions in uncropped variations or some other form. This has had the affect of compromising the impression of controlled ferocity that marked the earlier book, where every picture, regardless of the complexity of its structure, was clear and realized. Since the Grove book also describes Frank’s original response to present purposes, the definitive edition.
Many of the matched photographs reproduced here obviously, and remarkably, echo one another; they demonstrate that, to a significant degree, Frank used Evans’ work as an iconographical sourcebook for his own pictures. The photographs that make up the rest of the comparisons, however, more loosely resemble one another, since they have been paired to describe something less tangible than clear correspondences of subject-matter, and, because of this, have been formally matched on the basis of only minor visual similarities. In a general sense, these comparisons are meant to remind us that the true shape of influence is one composed of feeling as well as conscious recognition, and, more particularly, to suggest that Frank found in Evans’ work not only a guide to what he might photograph in America, but a vision of how he might understand what he saw here. On pages 40 and 41, for example, the plate-like space that both pictures delineate is less relevant to the purposes of this book than the common sympathy the photographs express for the harrowing sorrow of being black in this country. And while a tin relic and a flag (20, 21) may be difficult to reconcile as a comparison, they are here because, apart from being stunning photographs, they speak of a mutual skepticism – the Ionic column is crushed, the flag immense and torn – and of both photographers’ gift for symbol-making.
For full text please follow the link. Κείμενο του Tod Papageorge όπου περιγράφει την επίδραση του βιβλίου American Photographs του Walker Evans στο βιβλίο The Americans του Robert Frank.
Για την ανάγνωση του κειμένου επισκεφτείτε το παρακάτω link. >link
ANTOINE D'AGATA'S MASTERCLASS ON WIP ONLINE MAGAZINE//April 21, 2011 at 22:30 pm / THEORY [Essays] Το διαδικτυακό περιοδικό WIP (Work In Progress), σε συνεργασία με την ομάδα ART/IF/ACT, παρουσιάζει στο νέο του τεύχος το φωτογραφικό masterclass του Antoine D'Agata, μέλους του πρακτορείου Magnum Photos, που πραγματοποιήθηκε στην Αθήνα τον Νοέμβριο του 2010.
Για να διαβάσετε ή κατεβάσετε το τεύχος 11 του WIP χρησιμοποιείστε τον ακόλουθο σύνδεσμο
The online magazine WIP (Work In Progress), in collaboration with ART/IF/ACT team, present in its new issue the photographic masterclass directed by Antoine D'Agata / Magnum Photos, held in Athens in November 2010.
To read or download WIP's issue 11 please use the following link>link