Robert Frank

Galerie Marie-Louise Wirth, Zurich

Stephen Daiter Gallery, Chicago, 2007

San Francisco, Pier 24 Photography, Looking Back: Ten Years of Pier 24 Photography, July 2019 – March 2022

San Francisco, Pier 24 Photography, HERE., May 2011 – January 2012

HERE. (San Francisco: Pier 24 Photography, 2011), unpaginated (this print)

Gotthard Schuh, ‘Robert Frank,’ Camera 36, no. 8, August 1957, p. 356

The Americans, no. 72

Robert Frank, The Lines of My Hand (New York, 1972), unpaginated

Robert Frank (New York, 1976), p. 43

Robert Frank, The Lines of My Hand (Zurich, 1989), unpaginated

Robert Enright, ‘An Interview with Robert Frank: Frank Speaking,’ Border Crossings, Vol. 16, No. 4, November 1997, p. 27

Denise Miller, et al, Photography’s Multiple Roles: Art, Document, Market, Science (Chicago: The Museum of Contemporary Photography, 1998), p. 10

Emma Dexter and Thomas Weski, eds., Cruel and Tender: The Real in the Twentieth-Century Photograph (London: Tate Modern, 2003), p. 113

Philip Brookman and Vicente Todolí, Robert Frank: Storylines (London: Tate Modern, 2004), frontispiece 5

Sarah Greenough, Looking In: Robert Frank’s The Americans (Washington, D. C.: National Gallery of Art, 2009), pp. 297, 480, and 481, and Contact no. 72

Peter Galassi, Robert Frank in America (Göttingen, 2014), p. 81

Maurice Berger, 'Lens: Robert Frank, Telling It Like It Was,' The New York Times, 15 January 2015 (online)

Robert Frank, Fotografías, libros y películas (Valencia: Instituto Valenciano de Arte Moderno, 2017), p. 10

"The picture of the black couple in 'The Americans,' I said that’s my favorite picture. It’s my favorite picture because, to me, it really expressed a lot of different things, but also, it expressed how it feels to be a photographer and suddenly be confronted with that look of ‘You bastard, what are you doing!’"– Robert Frank ('Looking In,' pp. 130-31)