'Robert Frank,' Aperture, 1961, p. 7
Willy Rotzler, 'Der Photograph Robert Frank,' Du, no. 251, January 1962, p. 17
Sarah Greenough and Philip Brookman, Robert Frank: Moving Out (Washington, D. C.: National Gallery of Art, 1994), pp. 173 and 197
Robert Frank: Story Lines (London: Tate Modern, 2004), frontispiece 6
Charlie LeDuff, 'Robert Frank's Unsentimental Journey,' Vanity Fair, April 2008, p. 167
Sarah Greenough, Looking In: Robert Frank’s The Americans (Washington, D. C.: National Gallery of Art, 2009), pp. xiii, 225, 463, and 465, and Contact no. 13
Peter Galassi, Robert Frank: In America (Stanford, 2014), p. 132
The Americans, Robert Frank’s seminal photobook published in 1958, is at times a poignant visual record of race relations in 1950s America and Charleston, SC, remains one of its most culturally resonant photographs. In Frank’s images of the South, we witness the European photographer’s first exposure to deeply-rooted racism and class stratification. Frank authority Sarah Greenough notes that the photographer’s first images included obvious visual cues of segregation, such as ‘white’ or ‘colored’ water fountains and separate waiting areas but Frank quickly abandoned such prosaic conventions, however, in favor of more nuanced imagery (Looking In, p. 122).
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