This contact sheet shows five strips of black and white film arranged on a black background. The first of five frames on the top strip shows people on a bus taken from outside the bus. The next two frames show young men wearing uniforms outside a bus, and then two frames of men holding musical instruments. The second strip shows a Black woman looking to our right in front of a group of white police officers; then three frames showing groups of people before another shot of people on the bus. This strip is outlined in red and then the second and fifth frames are also boxed in red. The third strip is made of three frames, two of which show to people at a fruit stand. The third frame is of a man and woman walking toward us on a city street. The fourth strip also has five frames. The first four show crowds of people, but the fourth is noticeably darker. The fifth would be hard to make out if not for the photograph of the police officers above. In the four frames of the final strip are two shots of people gathered around an American flag, a group of children, and a group on a city street.
Robert Frank, Guggenheim 340/Americans 18 and 19--New Orleans, November 1955, contact sheet, Robert Frank Collection, Gift of Robert Frank, 1990.28.2141

The Robert Frank Collection

The Robert Frank Collection at the National Gallery of Art is the largest repository of materials related to renowned photographer and filmmaker Robert Frank. 

Spanning Frank's career from 1937 to 2005, the collection includes vintage and later prints, contact sheets, work prints, negatives, three bound books of original photographs, technical material, and various papers, books, and recordings.

For a complete account of photographs, contact sheets, and work prints in the collection, see Robert Frank photographs, contact sheets, and work prints in the collection. The spreadsheet lists subjects photographed by Frank, in chronological order, along with the corresponding number of photographs, contact sheets, and work prints in the collection and the accession number of each object.

To search the collection by title, key words, credit line, provenance, or accession number, please visit the National Gallery of Art collection search page.

Regarding titles: please note that many are descriptive only, derived either from information given by Robert Frank to the National Gallery, or from notes he wrote on the sleeves that held his negatives. Regarding dates: please note that at times corresponding prints and contact sheets have been assigned different dates. Like titles, dates have in most cases been provided by Frank and not always confirmed through historical research.

Photographs, Contact Sheets, Work Prints, and Volumes

This horizontal black and white photograph shows the exterior of a trolley car cropped to show only the mid-section with six passengers inside. The passengers look out of five windows on the left side of the trolley, so their bodies face our left in profile. The four people at the front end, to our left, are white; two people at the back, to our right, are Black. From left to right: a man looks out through the glass of the closed window along the left edge of the photograph. The remaining windows are open. An older woman wearing a dark coat looks at us from under arched eyebrows, lips pursed, out of the next window, to our right. A boy and a young girl look out of the central window. Closer inspection reveals the dark form of a woman next to them, lost in the shadowy interior of the trolley. In the next window, a Black man wearing a long-sleeved, button-down shirt leans onto the window ledge with both forearms, and, in the right-most window, a woman wearing glasses looks over her shoulder, up and away from us. That last window is cropped by the edge of the photograph. The scene behind us is reflected in glass panes above the seats on the exterior of the trolley.
Robert Frank, Trolley—New Orleans, 1955, gelatin silver print, Gift of Maria and Lee Friedlander, 2001.8.1

The collection includes:

About 5,000 photographs, both vintage prints (made within five years of the negative) and later prints, dating from 1937 to 2005.

This contact sheet shows five strips of black and white film arranged on a black background. The first of five frames on the top strip shows people on a bus taken from outside the bus. The next two frames show young men wearing uniforms outside a bus, and then two frames of men holding musical instruments. The second strip shows a Black woman looking to our right in front of a group of white police officers; then three frames showing groups of people before another shot of people on the bus. This strip is outlined in red and then the second and fifth frames are also boxed in red. The third strip is made of three frames, two of which show to people at a fruit stand. The third frame is of a man and woman walking toward us on a city street. The fourth strip also has five frames. The first four show crowds of people, but the fourth is noticeably darker. The fifth would be hard to make out if not for the photograph of the police officers above. In the four frames of the final strip are two shots of people gathered around an American flag, a group of children, and a group on a city street.
Robert Frank, Guggenheim 340/Americans 18 and 19--New Orleans, November 1955, contact sheet, Robert Frank Collection, Gift of Robert Frank, 1990.28.2141

Nearly 3,000 that Frank printed from his negatives, starting with his Swiss work in 1941 and extending through his 1973 work in Paris and London.

Robert Frank, Trolley—New Orleans, 1955, gelatin silver print, Robert Frank Collection, Gift of Robert Frank, 1990.28.316

1,336 work prints made during Frank's early years in Europe and from the Guggenheim negatives, 1955–1957.

Three groups of prints have been classified as work prints. The quality of the print does not determine its designation as a work print, although it is clear that Frank did not strive toward perfect tone or contrast in the work prints. Rather, the classification results from Frank's conception and use of the prints.

The first group of work prints comprises what appear to be contact prints (that is, the same size as Frank's negatives) made during his early years in Switzerland.

The second group of work prints includes prints Frank made in France in 1951, as well as a few other prints from Spain, London, and Wales.

The final group of work prints Frank made from his Guggenheim negatives, 1955–1957, as he worked toward the grouping and sequencing of The Americans.

Three hand-bound volumes produced during the early part of Frank's career: 40 Fotos, 1946; Peru, 1948; and Black White and Things, 1952.

Negatives

This is a photograph of a contact sheet. The contact sheet features multiple black-and-white images spread across several rows, depicting various scenes and objects. Each small rectangular frame captures a different moment, ranging from figures in casual settings, potentially marketplaces or leisure areas, to various indoor and outdoor environments. Some of the photos are marked with circles or underlined. The images are arranged like film negatives, displaying different scenes with multiple subjects, and variations in focus and composition.
Robert Frank, Guggenheim 175--Miami, Florida, November 1955, contact sheet, Robert Frank Collection, Gift of Robert Frank, 1990.28.2340

The collection includes aproximately 3,000 35 mm gelatin silver, flexible film negatives corresponding to nearly all contact sheets as well as to all technical material. The number of negatives is an estimate, because some negatives that correspond to the contact sheets are missing, and there are a number of negatives corresponding to technical material.

In addition, the collection includes six 4 5/8-by-3 1/2-inch gelatin dry plate negatives. Two of these, dated 1941–1945, correspond to prints published in Frank's volume 40 Fotos. The remaining four, dated c. 1941, correspond to prints that Frank grouped under the heading "Design."

Photographs by Other Photographers

A man is on the deck of a ship that angles sharply to the left in this vertical black and white photograph. We look up at the man, who holds a boxy camera in both hands and looks off to our right almost in profile. His short, dark hair ruffles in the wind, and he wears a light-colored scarf and a dark coat. The ship’s anchor is slung over the side of the hull close to us, and two masts lunge vertiginously up toward the top left corner of the photograph against a clear sky.
Photographer unknown, Robert Frank, Robert Frank, February 1947, gelatin silver print, Robert Frank Collection, Gift of Robert Frank, 1994.37.502

The collection includes 20 photographs by photographers other than Frank that were given by Frank as part of the 1990 and 1994 gifts and by the Estate of Kazuko Oshima in 2010. Most of these are photographs of Frank. They are detailed in Robert Frank: Photographs by Other Photographers.

Technical Material

The collection includes more than 600 pieces of technical material—prints and contact sheets from Frank's negatives that have been printed by the National Gallery rather than the artist himself. Some are duplicates of contact sheets printed by Frank (for instance, the Spain contact sheets from 1948–1949 and 1952), while others are made from negatives that Frank did not print. Five prints in this group (T1994.37.211.19–T1994.37.211.19.24) may be vintage prints. These objects are not accessioned works of art. Technical material is detailed in Robert Frank Technical Material.

The collection also includes one camera that Frank used in Switzerland for his 40 Fotos project. It is a Voightländer camera that takes 9 x 12 cm film. It appears that Frank used both glass and film negatives in this camera.

Papers, Books, and Recordings

The image shows two large potted plants on a windowsill. One plant is small in a glass container, and the other is larger with a lotus-like shape. The color palette is black and white. The plant on the left is slightly in the background and leans towards the glass, while the plant on the right is prominently in the foreground, slightly left of the center. A diagonal dark streak crosses the image. Light streams through a window in the background. Below the image, handwritten text in black ink starts with "Dear Sarah," with several lines filling the space on a white background.
Robert Frank, Untitled (Letter to Sarah Greenough), December 19, 1994, gelatin silver print and black ink, Gift of Sarah Greenough, 2017.192.1

This part of the collection encompasses a wide variety of papers, books, and recordings given by Frank, Philip Brookman, Ed Grazda, and others. These include personal artifacts such as passports and a fingerprint card; correspondence, including that between Frank and the Guggenheim Foundation; exhibition announcements, brochures, and catalogs; journal and newspaper articles featuring Frank or his photographs; portraits of Frank and his associates taken in the 1970s–1990s, as well as portraits of Frank and others taken by Walker Evans in the 1950s and printed later by Ed Grazda; installation photographs from several of Frank's exhibitions; book dummies; publications including original prints of Robert Frank photographs; books and CDs given by the estate of Kazuko Oshima; books featuring reproductions of photographs by Frank; dust jackets, album covers, and posters; VHS cassettes, KCA videotapes, DVDs, and audio tapes; and other miscellaneous objects. Materials are listed in Robert Frank Papers, Books, and Recordings.

Film and Video

This is a photograph of four black and white film strips showing two figures. The first figure is posing in the distance, and the other figure is closer in the foreground, partially visible from behind. The scene is set in an open barren landscape with a clear sky above. Each frame captures a slightly different moment in time.
Robert Frank, June and the Blind Man, Life Dances On..., 1975, gelatin silver print, Robert Frank Collection, Gift of Robert Frank, 1994.37.2

Included in the Robert Frank Collection are the masters of the two films Frank created for exhibitions at the National Gallery: Moving Pictures, 1994 (2012.139.13.1 – 2012.139.13.2) and Untitled, 2008 (2012.139.8). To view other films from Frank's long career as a filmmaker, researchers should visit the Robert Frank film collection at the Museum of Fine Arts, Houston: http://www.mfah.org/films/robert-frank-collection/ 

More Resources

The Robert Frank Collection at the National Gallery of Art, Washington, was begun in 1990 with a generous gift from the artist that included 27 vintage photographs, one of the three extant copies of Black White and Things, 1952 (a handmade book of 34 original photographs made between 1948 and 1952), 999 work prints, 2,296 contact sheets, and 2,241 rolls of film, as well as annotated book dummies for The Lines of My Hand. In the three years that followed, the Gallery acquired a total of 61 objects, including one print of every photograph reproduced in The Lines of My Hand, 1989. In 1994 Frank gave the Gallery another large donation that included 91 vintage photographs, 442 work prints, and 814 contact sheets. In 1996 he gave a third gift, this time including 12 photographs and his volume of photographs, Peru. Then in 2010 Frank gave one photograph and his volume of photographs, 40 Fotos. Most recently, Frank gave four photographs, six contact sheets, one work print, and three videos in 2012. The Gallery has continued to collect works by Robert Frank, acquiring 61 objects from 1994 to 1996, seven objects in 2000 and 2001, three objects in 2006, 20 objects in 2010, and one object in 2011.

Nearly all accessioned objects in the collection came to the Gallery directly from Frank's own collection. The exceptions are: four objects given in 1991 by, respectively, Amy and Philip Brookman, George F. Hemphill and Leonore A. Winters, Christopher and Alexandra Middendorf, and the Middendorf Gallery; 16 objects given in 1996 by John Cohen; six objects given in 2000 by Jane Watkins; one object given in 2001 by Lee and Maria Friedlander; and 20 objects given in 2010 by the Estate of Kazuko Oshima.

Publications about Robert Frank

Books and Exhibition Catalogues

Alexander, Stuart. Robert Frank: A Bibliography, Filmography, and Exhibition Chronology 1946 – 1985. Tucson: Center for Creative Photography, University of Arizona, in association with the Museum of Fine Arts, Houston, 1986.

The Art of Photography. Life Library of Photography. New York: Time-Life Books, 1971.

Bezner, Lili Corbus. Photography and Politics in America: From the New Deal into the Cold War. Baltimore: Johns Hopkins University Press, 1999.

Brookman, Philip, ed. Robert Frank: An Exhibition of Photography and Films, 1945 – 1977. Santa Cruz: Mary Porter Sesnon Art Gallery, University of California at Santa Cruz, 1978.

Brookman, Philip, ed. Robert Frank: Photographer / Filmmaker, Works from 1945 – 1979. Long Beach, CA: Long Beach Museum of Art, 1979.

Brookman, Philip, ed. Robert Frank: London / Wales. Zurich: Scalo; London: Thames & Hudson, in association with the Corcoran Gallery, Washington, DC, 2003.

Brookman, Philip, and Vicente Todolí. Robert Frank: Storylines. London: Tate Publishing, 2004.

Burger-Utzer, Brigitta, Stefan Grissemann, and Robert Frank. Frank Films: The Film and Video Work of Robert Frank. Zurich and Berlin: Scalo, 2003.

Codrescu, Andrei, and Terence Pitts. Reframing America: Alexander Alland, Otto Hagel & Hansel Mieth, John Gutmann, Lisette Model, Marion Palfi, Robert Frank. Tucson: Center for Creative Photography; Albuquerque: University of New Mexico Press, 1995.

Cohen, Susan, and William S. Johnson. Horses, Sea Lions, and Other Creatures: Robert Frank, Dave Heath, Robert Heinecken, and John Wood. Belmont, MA: Joshua Press, 1986.

Day, Jonathan. Robert Frank's "The Americans": The Art of Documentary Photography. Briston, Chicago: Intellect, 2011.

Documentary Photography. Life Library of Photography. New York: Time-Life Books, 1972. Revised edition, Alexandria, VA: Time-Life Books, 1983.

Eskenazi, Jason. By the Glow of the Jukebox: The Americans List. New York: Red Hook Editions, 2012.

Eskildsen, Ute, ed. Robert Frank: Hold Still — Keep Going, Zurich: Scalo, 2001.

Frank, Robert, and Ute Eskildsen. Paris: A Short Return. Göttingen: Steidl, 2008.

Great Photographers. Life Library of Photography. New York: Time-Life Books, 1971.

Greenough, Sarah, and Philip Brookman, eds. Robert Frank: Moving Out. Washington, DC: National Gallery of Art; Zurich: Scalo, 1994.

Hall, Lars, and Gunilla Knape, eds. Flamingo by Robert Frank. Gothenburg: Hasselblad Center, 1997.

Hibi, Yuichi. A Weekend with Mr. Frank. Tucson: Nazraeli Press, 2006.

Johnson, William S., ed. The Pictures Are a Necessity: Robert Frank in Rochester, NY, November 1988. Rochester Film and Photo Consortium Occasional Papers, no. 2. Rochester, NY: International Museum of Photography at George Eastman House, 1989.

Katz, Paul. Robert Frank: “The Americans” and New York Photographs. New York: Sidney Janis Gallery, 1979.

Katz, Paul. “Robert Frank.” In Photography Venice ’79, 311 – 326. Venice and Milan: Gruppo Editoriale Electa; New York: Rizzoli International Publications, 1979.

Lhamon, W. T. Deliberate Speed: The Origins of a Cultural Style in the American 1950s. Cambridge, MA: Harvard University Press, 2002.

Livingston, Jane. The New York School: Photographs, 1936 – 1963. New York: Stewart, Tabori & Chang, 1992.

Ming, Dodo Jin. Waiting for Mushroom: The Private Robert Frank and June Leaf. Zurich: Scalo; London: Thames & Hudson, 2001.

Osborne, Peter. Travelling Light: Photography, Travel, and Visual Culture. Manchester and New York: Manchester University Press, 2000.

Papageorge, Tod. Walker Evans and Robert Frank: An Essay on Influence. New Haven: Yale University Art Gallery, 1981.

Perchik, Simon. The Snowcat Poems, 1980 – 1981, to the Photographs of Robert Frank. North Charleston: Linwood Publishers, 1985.

Robert Frank. Introduction by Rudolph Wurlitzer. Histoire de la Photographie. Paris: Robert Delpire; Fondation Nationale de la Photographie; Nouvel Observateur, 1976. Reprinted Millerton, NY: Aperture, 1976.

Robert Frank. Paris: Centre National de la Photographie, 1983. Reprinted New York: Pantheon Books; Paris: Centre National de la Photographie, 1985.

Robert Frank. Mostra Internationale. Rimini, Italy: Riminicinema, 1990.

Robert Frank. London: Thames & Hudson, 1991.

Robert Frank: Fotografias / Films 1948 – 1984. Valencia, Spain: Sala Parpalló; Institución Alfons el Magnànim, 1985.

Robert Frank: La photographie, enfin. Special issue of Les Cahiers de la Photographie, nos. 11 – 12. Laplume, France: Association de Critique Contemporaine en Photographie, 1983.

Robert Frank. Sobre Valencia 1950. Valencia, Spain: Sala Parpalló; Institución Alfons el Magnànim, 1985.

Robert Frank. Werkverzeichnis. Zurich: J. E. Wolfensberger; Kunsthaus Zürich, 1976.

Six Photographers: An Exhibition of Contemporary Photography. Urbana: College of Fine and Applied Arts, University of Illinois, 1961.

Soncini, Franca. Ideas: Fotos di Robert Frank. Milan: Alberto Aspesi, 1997.

Stahel, Urs, ed. Essays über Robert Frank. Göttingen: Steidl, 2005.

Steichen, Edward, ed. The Family of Man. Introduction by Edward Steichen. Prologue by Carl Sandburg. New York: Museum of Modern Art, distributed by Simon & Schuster, 1955.

Szarkowski, John. The Photographer’s Eye. New York: Museum of Modern Art, distributed by Doubleday, 1966.

Tannenbaum, Barbara, and David B. Cooper. Robert Frank and American Politics. Akron, OH: Akron Art Museum, 1985.

Trachtenberg, Alan, Peter Neill, and Peter Bunnell. The City: American Experience. New York: Oxford University Press, 1971.

Tucker, Anne Wilkes, and Philip Brookman, eds. Robert Frank: New York to Nova Scotia. Boston: Little, Brown; Museum of Fine Arts, Houston, 1986.

Turner, Peter, and Gerry Badger. Photo Texts. London: Travelling Light, 1988.

12 Photographers of the American Social Landscape. Waltham, MA: Poses Institute of Fine Arts, Brandeis University, 1967.

Weiermair, Peter, and Gerald Matt, eds. Americans 1940 – 2006, Amerika: Die soziale Landschaft 1940 bis 2006. Meisterwerke amerikanischer Fotografie. Vienna: Kunsthalle Wien; Bologna: Grafiche Damiani, 2006.

Weltausstellung der Photographie 1952. Lucerne: Genossenschaft Photoausstellung, 1952.

Westerbeck, Colin, and Joel Meyerowitz. Bystander: A History of Street Photography. Boston: Bulfinch Press, 1994.

Articles, Book Sections, Reviews

Alexander, Stuart. “Les Américains.” Sensible [Centre Régional de la Photographie, Nord Pas-de-Calais] 2 (1996): n.p.

Alexander, Stuart. “Robert Frank.” Katalog: Journal of Photography and Video 9, no. 4 (Fall 1997): 32 – 33.

“Les Américains.” Review of Les Américains. In Carrefour [Paris] 15, no. 740 (November 19, 1958): 14.

Baas, Valerie, and Nancy W. Barr. “Note on the Rarity and Care of Works by Robert Frank in the Detroit Institute of Arts.” Bulletin of the Detroit Institute of Arts 80, nos. 1 – 2 (2006): 52 – 57.

Badger, Gerry. “From Humanism to Formalism: Thoughts on Post-War American Photography.” In American Images: Photography 1945 – 1980, edited by Peter Turner, 11 – 22. New York: Viking Press; London: Barbican Art Gallery, 1985.

Baetens, Jan. “Motifs of Extraction: Photographic Images on Book Covers.” History of Photography 29, no. 1 (2005): 81 – 89.

Baier, Lesley K. “Visions of Fascination and Despair: The Relationship between Walker Evans and Robert Frank.” Art Journal 41, no. 1 (Spring 1981): 55 – 63.

Barr, Nancy Watson. “Truth, Memory, and the American Working-Class City: Robert Frank in Detroit and at the Rouge.” Bulletin of the Detroit Institute of Arts 76, nos. 1 – 2 (2002): 62 – 74.

Barrow, Thomas F. “A Letter with Some Thoughts on Photography’s Future.” Album, no. 6 (July 1970): 2 – 3.

Becker, Howard S. “Photography and Sociology.” Afterimage 3, nos. 1 – 2 (May / June 1975): 21 – 32.

Bennett, Edna. “Black and White Are the Colors of Robert Frank.” Aperture 9, no. 1 (1961): 20 – 22.

Bergengren, Kurt. “Fotograf påegna vägar vill bort från stelnad magasinstil.” Aftonbladet, January 30, 1962, n.p.

Blinder, Carolin. “ ‘A Kind of Patriotism’: Jack Kerouac’s Introduction to Robert Frank’s The Americans (1959).” In Writing and Seeing: Essays on Word and Image, edited by Rui Carvalho Homem, 235 – 244. Amsterdam: Rodopi, 2006.

“Books.” Review of The Americans. In Art and Artists 6, no. 4 (July 1971): 70.

“Books: General.” Review of The Americans. In New Yorker, May 14, 1960, 203 – 204.

“Books of the Year.” Review of The Americans. In Photography Annual 1961, edited by Bruce Downes, 198 – 203. New York: Ziff-Davis, 1960.

Braley, Duane. “Photo Books Not Always Pretty, Have Impact.” Review of The Americans. In Minneapolis Tribune, June 29, 1969, sec. E:10.

Brown, Geoffrey. “Robert Frank: Canadian Museum of Contemporary Photography.” Flash Art 35, no. 226 (2002): 104.

Brumfield, John. “ ‘The Americans’ and The Americans.” Afterimage 8, nos. 1 – 2 (Summer 1980): 8 – 15.

Bunnell, Peter C. “Robert Frank’s Fourth of July—Jay, New York.” In Inside the Photograph: Writings on Twentieth-Century Photography, 161 – 163. New York: Aperture; distributed by D.A.P., 2006. Originally published in Print Collector’s Newsletter 7, no. 3 (July / August 1976): 81.

Campbell, Neil. “Cold War ‘Containment Culture’ and Photography: Robert Frank’s The Americans and the 1950s.” In American Visual Cultures, edited by David Holloway and John Beck, 142 – 149. London and New York: Continuum, 2005.

Cascade, Rebecca. “This American Life.” Art and Auction 27, no. 2 (2004): 132, 134.

Caso, Paul. “Peinture américaine au Palais des Beaux-Arts.” Review of Les Américains. In Le Soir [Brussels], December 11, 1958, 2.

Cassell, James. “Robert Frank’s The Americans: An Original Vision Despite Tod Papageorge’s Challenge.” New Art Examiner 8, no. 10 (1981): 1, 8.

Caulfield, Patricia. “New Photo Books: The Americans.” Review of The Americans. In Modern Photography 24, no. 6 (June 1960): 32 – 33.

Cembalest, Robin. “Indelible Images.” ArtNews 88, no. 4 (April 1989): 174 – 179.

Chuang, Joshua. “When the Messenger Is the Medium: The Making of Walker Evans’s American Photographs and Robert Frank’s The Americans.” Yale University Art Gallery Bulletin (2006): 109 – 123.

Claass, Arnaud. “Robert Frank et les avant-gardes.” Contrejour [Paris] 13 (October / November 1977): 22 – 25.

Coleman, A. D. “Latent Image: Robert Frank.” Review of The Americans. In Village Voice, May 1, 1969, 13.

“Contemporary Photographers: Robert Frank.” PSA Journal 33, no. 1 (January 1967): 27.

Cook, Jno. “Robert Frank’s America.” Afterimage 9, no. 8 (March 1982): 9 – 14.

Cook, Jno. “Robert Frank: Dissecting the American Image.” Exposure 24, no. 1 (1986): 31 – 41.

Cook, Jno. “The Robert Frank Coloring Book.” Creative Camera 8, no. 9 (1989): 48 – 51.

Cotkin, George. “Robert Frank’s Existential Vision.” In Existential America. Baltimore: Johns Hopkins University Press, 2003, 210 – 221. Originally published as “The Photographer in the Beat-Hipster Idiom: Robert Frank’s The Americans.” In American Studies 26, no. 1 (Spring 1985): 19 – 33.

Cousineau, Penny. “Robert Frank’s Postcards from Everywhere.” Afterimage 5, no. 8 (February 1978): 6 – 8.

Crane, Arnold H. “For the Photography Collector.” Review of The Americans. In Chicago Daily News, July 12, 1969, Panorama section, 9.

Deschin, Jacob. “Abstract Images: Display Arranged by Steichen Includes Variety of Experimental Work.” New York Times, May 6, 1951, sec. 2:15.

Deschin, Jacob. “European Pictures: Modern Museum Presents Collection by Steichen.” New York Times, May 31, 1953, sec. 2:13.

Deschin, Jacob. “Project Awards: Guggenheim Fellowships for Frank and Webb.” New York Times, May 1, 1955, sec. 2:17.

Deschin, Jacob. “Picture Annuals: American, German, and British Work Reviewed.” Review of U.S. Camera Annual 1958. In New York Times, December 1, 1957, sec. 2:21.

Deschin, Jacob. “Two-Man Exhibit: Photographs by Callahan and Frank at Museum of Modern Art.” New York Times, February 4, 1962, sec. 2:21.

Deschin, Jacob. “Photography: Camera Looks at America.” Review of The Americans. In New York Times, August 17, 1969, sec. 2:22.

Di Piero, W. S. “Not a Beautiful Picture: On Robert Frank.” In Out of Eden: Essays on Modern Art. Berkeley: University of California Press, 1991, 179 – 198. Originally published in TriQuarterly 76 (Fall 1989): 146 – 165.

Enright, Robert. “Fragments of Memory.” Border Crossings 21, no. 3 (2002): 18.

Evans, Walker. “Robert Frank.” In U.S. Camera Annual 1958, edited by Tom Maloney, 90. New York: U.S. Camera Publishing Corp., 1957.

Frank, Robert. “A Statement. . . .” In U.S. Camera Annual 1958, edited by Tom Maloney, 115. New York: U.S. Camera Publishing Corp., 1957.

Frank, Robert. “Robert Frank: Letter from New York.” Creative Camera [London], no. 60 (June 1969): 202.

Frank, Robert. “Robert Frank: Letter from New York.” Creative Camera [London], no. 61 (July 1969): 234 – 235.

Frank, Robert. “Robert Frank: Letter from New York.” Creative Camera [London], no. 62 (August 1969): 272.

Frank, Robert. “Robert Frank: Letter from New York.” Creative Camera [London], no. 64 (October 1969): 340.

Frank, Robert. “Robert Frank: Letter from New York.” Creative Camera [London], no. 66 (December 1969): 414.

Fresnault-Deruelle, Pierre. “Les Américains de Robert Frank.” Revue française d’études américaines 39 (February 1989): 63 – 70.

Frizot, Michel. “Robert Frank: Ailleurs et maintenant.” Clichés [Brussels] 25 (April 1986): 48 – 53.

Gasser, Martin. “ ‘. . . really more like Russia, in feeling and look . . .’: Robert Frank und Amerika.” In Swiss, made. Die Schweiz im Austausch mit der Welt, edited by Beat Schläpfer, 79 – 92. Zurich: Scheidegger & Spiess, 1998.

Getlein, Frank. “Art: Beatniks and Beaux.” Review of The Americans. In New Republic, January 11, 1960, 21 – 22.

Gibson, Ralph. “Books: The Americans.” Review of The Americans. In Artforum 8, no. 9 (May 1970): 92.

Green, Jonathan. “The Americans: Politics and Alienation.” In American Photography: A Critical History 1945 to the Present, 80 – 93. New York: Harry N. Abrams, 1984.

Grundberg, Andy. “Affirming and Dissident Visions of America.” New York Times, November 9, 1986, sec. 2:31.

Guerrin, Michel. “Sur la route de la mélancolie avec Robert Frank.” Le Monde, November 6, 2004, 29.

“Guggenheim Fellows in Photography.” In U.S. Camera Annual 1958, edited by Tom Maloney, 89. New York: U.S. Camera Publishing Corp., 1957.

Guimond, James. “The Great American Wasteland.” In American Photography and the American Dream. Chapel Hill: University of North Carolina Press, 1991, 207 – 244.

Gutierrez, Donald. “Books: The Unhappy Many.” Review of The Americans. In Dissent 8, no. 4 (Autumn 1961): 515 – 516.

Hagen, Charles. “Candid Camera.” Artforum 24, no. 10 (Summer 1986): 23, 116 – 119.

Halter, Peter. “Ut Pictura Poesis: Reading Robert Frank’s The Americans as a Photographic Sequence.” In Literature and the Visual Arts in 20th-Century America, edited by Michele Bottalico, 43 – 65. Bari, Italy: Palomar, 2002.

Hinderaker, Mark. “The Family of Man and The Americans.” Photographer’s Forum 2, no. 4 (September 1980): 22 – 28.

Hoberman, J. “On the Road Again.” Artforum International 45, no. 8 (2007): 89 – 90.

Hogan, William. “A Bookman’s Notebook: Photo Coverage of the Ugly American.” Review of The Americans. In San Francisco Chronicle, January 27, 1960, 25.

Holland, Patricia. “Robert Frank: Reinventing Memory.” Creative Camera, no. 359 (1999): 32 – 35.

Horak, Jan-Christopher. “Robert Frank: Daddy Searching for the Truth.” In Making Images Move: Photographers and Avant-Garde Cinema, 161 – 189. Washington, DC, and London: Smithsonian Institution Press, 1997.

Jeffrey, Ian. “Robert Frank: Photographs from London and Wales, 1951.” In Creative Camera Inter-national Year Book 1975, edited by Colin Osman and Peter Turner, 10 – 36. London: Coo Press Ltd., 1974.

Jobey, Liz. “The Unamerican.” Independent on Sunday: Sunday Review, March 29, 1992, 8 – 10.

“John Simon Guggenheim Memorial Foundation Fellows in Photography 1937 – 1965.” Camera 45, no. 4 (April 1966): 2 – 66.

Johnson, William S. “Public Statements / Private Views: Shifting the Ground in the 1950s.” In Observations: Essays on Documentary Photography, edited by David Featherstone, 81 – 92. Carmel, CA: Friends of Photography, 1984.

Kinzer, H. M. “Today’s Best Picture Books.” Popular Photography 52, no. 5 (May 1963): 60 – 61.

Kornbluh, Barry. “Robert Frank.” Blad 4 (1995): 50 – 58.

Lalanne, Jean-Marc. “Rotterdam, on y retourne.” Cahiers du Cinéma, no. 522 (1998): 22.

Lambeth, Michel. “Books Reviewed: The Americans.” Review of The Americans. In Canadian Forum 40, no. 475 (August 1960): 120.

Lyons, Nathan. “Photographic Books.” In The Encyclopedia of Photography, vol. 14, edited by Willard D. Morgan, 2680 – 2688. New York: Greystone Press, 1963.

M. G. [Manuel Gasser]. “Kritisches zu zwölf neuen Photobüchern: Reportagen.” Review of Les Américains. In Du, March 1959, 80, 82.

Malcolm, Janet. “Slouching Towards Bethlehem, PA.” In Diana & Nikon: Essays on Photography, 125 – 145. New York: Aperture, 1997.

Maloney, Tom. “U.S. Camera 1958.” In U.S. Camera Annual 1958, edited by Tom Maloney, 124, 280. New York: U.S. Camera Publishing Corp., 1957.

Mann, Margery. “Photography.” Artforum 6, no. 2 (October 1967): 67 – 70.

Mann, Margery. “West: The Americans Revisited.” Camera 35 18, no. 10 (January 1975): 14, 74 – 75.

Marcus, Greil. “On the Road Again: Robert Frank Driving and Crying.” Artforum International 33 (1994): 52 – 57.

Martine, Claude. “Trois voyageurs nous livrent une Amérique préfabriquée.” Review of Les Américains. In Arts, Lettres, Spectacles, December 17 – 23, 1958, 3.

McGee, Robert. “Mabou Blues.” Border Crossings 18, no. 3 (1999): 54 – 56.

Millstein, Gilbert. “In Each a Self-Portrait.” Review of The Americans. In New York Times Book Review, January 17, 1960, 7.

Mitchell, W. J. T. “The Ends of American Photography: Robert Frank as National Medium.” In What Do Pictures Want? The Lives and Loves of Images, 272 – 293. Chicago: University of Chicago Press, 2005.

Mora, Gilles. “From The Family of Man (1955) to Robert Frank.” In The Last Photographic Heroes: American Photographers of the Sixties and Seventies, 12 – 17. New York: Harry N. Abrams, 2007.

Nesterenko, Alexander, and C. Zoe Smith. “Contemporary Interpretations of Robert Frank’s The Americans.” Journalism Quarterly 61, no. 3 (Autumn 1984): 567 – 577.

Nyren, Dorothy. “New Books Appraised: The Arts — Graphic Arts.” Review of The Americans. In Library Journal 85, no. 6 (March 15, 1960): 1104.

“An Off-Beat View of the U.S.A.: Popular Photography’s Editors Comment on a Controversial New Book.” Reviews of The Americans. In Popular Photography 46, no. 5 (May 1960): 104 – 106.

Palmer, Phil. “Powerful, Visual Statements of the World.” Review of The Americans. In San Francisco Chronicle, June 29, 1969, This World section, 33.

Papageorge, Tod. “From Walker Evans to Robert Frank: A Legacy Received, Embraced, and Transformed.” Artforum 19 (April 1981): 33 – 37.

“Postwar European Photography. Exhibition Review.” U.S. Camera 16, no. 9 (September 1953): 37 – 42.

Rice, Shelley. “Some Reflections on Time and Change in the Work of Robert Frank.” Photo Review 13, no. 2 (Spring 1990): 1 – 9.

Richard, Paul. “Americans — Without Tricks.” Review of The Americans. In Washington Post, May 19, 1969, sec. B:5.

“Robert Frank’s Camera: Poetry of Americana.” Review of The Americans. In Chicago Daily News, May 3, 1969, Panorama section, 3.

Sandeen, Eric J. “Edward Steichen, Robert Frank, and American Modern-ism.” In Picturing an Exhibition: “The Family of Man” and 1950s America, 155 – 180. Albuquerque: University of New Mexico Press, 1995.

Sass, Ann. “Robert Frank and the Filmic Photograph.” History of Photography 22, no. 3 (Autumn 1998): 247 – 253.

Scarborough, John. “From Nature in the Raw to Life in the Raw.” Review of The Americans. In Houston Chronicle, June 8, 1969, Zest section, 11.

Schiffman, Amy M. “Politics as Unusual: Robert Frank.” American Photographer 13, no. 5 (November 1984): 52 – 57.

Scully, Julia, and Andy Grundberg. “Currents: American Photography Today.” Modern Photography 42, no. 10 (October 1978): 94 – 97, 196, 198, 200.

Searle, Leroy. “Poems, Pictures, and Conceptions of ‘Language.’” Afterimage 3, nos. 1 – 2 (May / June 1975): 33 – 39.

Shany, Ronit. “Bli Flash.” Monitin (May 1983): 54 – 56, 61, 63.

Shatz, Adam. “Robert Frank.” In American Rebels, edited by Jack Newfield, 61 – 72. New York: Thunder’s Mouth Press; Nation Books, 2003.

Silberman, Robert. “The Americans in Europe: Text, Context, Reception.” In American Photographs in Europe, edited by Mick Gidley and David E. Nye, 243 – 254. Amsterdam: Vu University Press, 1994.

Stamm, Tad, Burt Keppler, and Barney Rosset. “Letters to the Editor: The Americans.” Popular Photography 47, no. 1 (July 1960): 6.

Stevens, Nancy. “The Americans Revisited.” American Photographer 2, no. 6 (1979): 38 – 49.

Stimson, Blake. “Photographic Anguish and The Americans.” In The Pivot of the World: Photography and Its Nation, 105 – 136. Cambridge, MA: MIT Press, 2006.

Stott, W. “Walker Evans, Robert Frank, and the Landscape of Dissociation.” Artscanada 31 (December 1974): 83 – 89.

Suter, Gody. “Zwölf neue Photobücher.” Review of Les Américains. In Das Buch, literary supplement of Die Weltwoche [Zurich], December 12, 1958, 25.

Sutherland, Elizabeth. “Robert Frank: Biography.” In The Encyclopedia of Photography, vol. 9, edited by Willard D. Morgan, 1,602 – 1,604. New York: Greystone Press, 1963.

Takata, Ken. “Toward an Elegance of Movement: Walker Evans and Robert Frank Revisited.” Journal of American Culture 12, no. 1 (1989): 55 – 64.

Vestal, David. “30 Years of Books That Shaped Photography” [Part II]. Popular Photography 60, no. 6 (June 1967): 88 – 89, 44.

“Views: Robert Frank.” Creative Camera, no. 65 (November 1969): 376.

Weiss, Margot. “Book Review [Reissue of Walker Evans’s American Photographs].” Infinity 11, no. 7 (September 1962): 13.

[White, Minor]. “Book Reviews: Three 1958 Annuals.” Review of U.S. Camera Annual 1958. In Aperture 5, no. 4 (1957): 172 – 173.

[White, Minor]. “Book Review: Les Américains.” Review of Les Américains. In Aperture 7, no. 3 (1959): 127.

Woodward, Richard B. “Where Have You Gone Robert Frank?” New York Times Magazine, September 4, 1994, 30 – 37.

Wyatt, Tom. “Being Frank.” Creative Review 17 (1997): 39.

Interviews

Alexander, Stuart. “Robert Frank Discusses The Americans at George Eastman House, 17 and 18 August 1967.” Katalog: Journal of Photography and Video 9, no. 4 (Fall 1997): 34 – 43.

Béhar, Henri, and Michel Guerrin. “Un entretien avec le photographe et cinéaste américain Robert Frank hors cadre.” Le Monde, November 17, 1994, 1, 6.

Enright, Robert. “Frank Speaking: An Interview with Robert Frank.” Border Crossings 16, no. 4 (November 1997): 14 – 33.

Garel, Alain. “Robert Frank entretien: Image en mouvement.” La Revue du Cinéma [Paris] 435 (February 1988): 49 – 52.

Gehrig, Christian. “Frozen Moments.” Schweizer Illustrierte, April 17, 1989, 57 – 62.

Guerrin, Michel. “Robert Frank raconte sa passion pour Tuggener et ‘le miracle Suisse.’” Le Monde, February 18, 2000, 26.

Hachigian, Nina, and Tod Papageorge. “Interview with Robert Frank.” In Black + White: The Yale Undergraduate Photography Review (1989): 2 – 7.

Kernan, Sean. “Uneasy Words While Waiting: Robert Frank.” In U.S. Camera / Camera 35 Annual: America, Photographic Statements, edited by Jim Hughes, 139 – 145. New York: American Express Publishing Corp., 1972.

Lequeret, Elisabeth. “Robert Frank.” Cahiers du Cinéma, no. 621 (March 2007): 46 – 47.

Revault d’Allones, Fabrice. “Un américain à Paris.” Photomagazine 88 (December 1987 / January 1988): 26 – 28.

“Robert Frank.” In Photography within the Humanities, edited by Eugenia Parry Janis and Wendy MacNeil, 52 – 65. Danbury, NH: Addison House, 1977.

“Robert Frank.” Camera Austria 22 (1987): 17 – 23.

“Robert Frank.” Switch [Tokyo] 10, no. 4 (September 1992): 12 – 91.

Schaub, Martin. “FotoFilmFotoFilm. Eine Spirale: Robert Franks Suche nach den Augenblicken der wahren Empfindung.” Cinema. Unabhängige Schweizer Filmzeitschrift [Zurich] 30 (1984): 75 – 94.

Schmid, Joachim. “Ein Interview mit Robert Frank.” Fotokritik [Berlin], no. 14 (June 1985): 16 – 21.

Swanberg, Lasse. “Robert Frank.” In Fotografisk Årsbok 1968, 56 – 61. Stockholm: Nordisk Rotogravyrs Förlag; P.A. Norstedt & Söner, 1967.

“Walker Evans on Robert Frank/Robert Frank on Walker Evans (Interview with Frank, May 1971).” In Still / 3, edited by James Eisenman, 2 – 6. New Haven: Yale University Press, 1973.

Wallis, Brian. “Robert Frank: American Visions.” Art in America 84, no. 3 (March 1996): 74 – 79.

Wheeler, Dennis. “Robert Frank Interviewed.” Criteria 3, no. 2 (June 1977): 1, 4 – 7, 24.

Academic Theses

Alexander, Stuart. “The Criticism of Robert Frank’s The Americans.” MA thesis, University of Arizona, 1986.

Dean, Stephanie Georgina. “Robert Frank’s Absurd Americans: Existentialism Present in the Photographs and Photographic Sequence of The Americans.” MA thesis, Columbia College, 2005.

Ellsworth, Kirstin Lynne. “Icons on the American Landscape in the 1960s: Mapping the Culture of Car and Road.” PhD dissertation, Indiana University, 2005.

Laufer, Marilyn. “In Search of America: Photography from the Road 1936 – 1976.” PhD dissertation, Washington University, 1992.

Lent, Tina Olsin. “Situating The Americans: Robert Frank and the Transformation of American Photography.” PhD dissertation, University of Rochester, 1994.

Meiners, Cristy Michelle. “Cultural Myths of the American Automobile in Robert Frank’s The Americans and 1950s Commercial Images.” MA thesis, Brigham Young University, 2005.

Moyers, Scott Patrick. “Going Nowhere Fast: The Car, the Highway, and American Identity in Vladimir Nabokov’s Lolita and Robert Frank’s The Americans.” MA thesis, College of William and Mary, 1997.

Sass, Ann. “Robert Frank’s Photog-raphy 1942 – 1959.” PhD dissertation, Columbia University, 1991.

Related Material

Bauer und Arbeiter. 70 Photos von Paul Senn. Introduction by Arnold Kübler. Zurich: Büchergilde Gutenberg, 1943.

Belgrad, Daniel. The Culture of Spontaneity: Improvisation and the Arts in Postwar America. Chicago: University of Chicago Press, 1998.

Blaine, Allan. “The Making (and Unmaking) of Pull My Daisy.” Film History 2, no. 3 (September – October 1988): 185 – 205.

Cartier-Bresson, Henri. The Decisive Moment: Photographs by Henri Cartier-Bresson. New York: Simon and Schuster, 1952.

Cartier-Bresson, Henri. Moscou. Vu par Henri Cartier-Bresson. Paris: Collection Neuf; Robert Delpire, 1955.

Frey, Theo. Ein Buch vom Bauen. Zurich: Fretz & Wasmuth Verlag, 1943.

Gasser, Martin, ed. “Special Issue: Photography in Switzerland.” History of Photography 22, no. 3 (Autumn 1998).

Klein, William. Life Is Good & Good For You in New York: Trance Witness Revels. Paris: Éditions du Seuil, Album Petite Planète 1, 1956.

Kozloff, Max, et al. The Social Scene: The Ralph M. Parsons Foundation Photography Collection at the Museum of Contemporary Art, Los Angeles. Exh. cat. Los Angeles: Museum of Contemporary Art, 2000.

Published Books with Photographs by Frank

*The Robert Frank Collection includes at least one copy of each

Eddé, Dominique, ed. Beyrouth: Centre Ville. Paris: Éditions du Cyprès, 1992.

Frank, Robert. Alberto Aspesi: Shirts. Milan: Alberto Aspesi, 1989.

Frank, Robert. Les Américains. Edited by Alain Bosquet. Paris: Robert Delpire, 1958. Reprinted as Gli Americani. Edited by Alain Bosquet and Raffaele Crovi. Milan: Il Saggiatore, 1959.

Frank, Robert. The Americans. Introduction by Jack Kerouac. New York: Grove Press, 1959. Reprinted New York: Museum of Modern Art; Aperture, 1968; New York: Grossman Publishers; Aperture, 1969; New York: Museum of Modern Art; Aperture, 1969; Millerton, NY: Aperture, 1978; London: Gordon Fraser Gallery, Ltd., 1978; New York: Pantheon, 1986; Manchester: Cornerhouse Publications in association with the National Gallery of Art, Washington, 1993; Zurich and New York: Scalo in association with the National Gallery of Art, Washington, 1993, 1994, 1998, 2000; Göttingen: Steidl in association with the National Gallery of Art, Washington, 2008. Also reprinted in French as Les Américains. Paris: Delpire, 1985 (released 1986), 1997, 2007. In German as Die Amerikaner, Munich: Christian Verlag, 1986; Zurich and New York: Scalo, 1993; Göttingen: Steidl in association with the National Gallery of Art, Washington, 2008. In Japanese as Amerikanzu: Robato Furanku shashinshu, Tokyo: Takarajimasha, 1993. In Chinese, Göttingen: Steidl in association with the National Gallery of Art, Washington, 2008.

Frank, Robert. Black White and Things. Handmade book with cover and layout by Werner Zryd, 1952. Published Washington, DC: National Gallery of Art; Zurich: Scalo, 1994.

Frank, Robert. Come Again. Göttingen: Steidl, 2006.

Frank, Robert. Flower Is. . . . Tokyo: Yugensha, Kazuhiko Motomura, 1987.

Frank, Robert. From Incas to Indians. Introduction by Manuel Tuñon de Lara. New York: Universe Books, 1956.

Frank, Robert. Henry Frank, Father Photographer. Göttingen: Steidl, 2009.

Frank, Robert. The Lines of My Hand. Tokyo: Yugensha, Kazuhiko Motomura, 1972. Revised edition, New York: Lustrum Press, 1972. Revised edition, Zurich: Der Alltag; New York: Parkett, 1989; New York: Pantheon, 1989; and London: Secker & Warburg, 1989.

Frank, Robert. Me and My Brother. Handmade book produced as a production aid for Frank’s film Me and My Brother (c. 1965 – 1968). Published Göttingen: Steidl, 2007.

Frank, Robert. New York Is. Introduction by Gilbert Millstein. New York: New York Times, 1959.

Frank, Robert. One Hour. Madras, India, and New York: Hanuman Books, 1992.

Frank, Robert. Pangnirtung. Göttingen: Steidl, 2011.

Frank, Robert. Paris. Göttingen: Steidl, 2008.

Frank, Robert. Peru. Handmade book, 1948. Published Göttingen: Steidl, 2008.

Frank, Robert. Portfolio: 40 Fotos 1941/1946. Göttingen: Steidl, 2009.

Frank, Robert. Pull My Daisy. Göttingen: Steidl, 2008

Frank, Robert. Seven Stories. Göttingen: Steidl, 2009.

Frank, Robert. Tal Uf Tal Ab. Göttingen: Steidl, 2010.

Frank, Robert. Thank You. Zurich, Berlin, New York: Scalo, 1996.

Frank, Robert. You Would. Göttingen: Steidl, 2012.

Frank, Robert. Zero Mostel Reads a Book. New York: New York Times, 1963.

Frank, Robert, and Lee Friedlander. The Sculpture of Raoul Hague: Photographs by Robert Frank and Lee Friedlander. New York: Eakins Press Foundation, 1978.

Frank, Robert, and Alfred Leslie. Pull My Daisy. Text by Jack Kerouac. Introduction by Jerry Tallmer. New York: Grove Press, 1961.

Heath, David, Hugh Edwards, and Robert Frank. A Dialogue with Solitude. Culpeper, VA: Community Press, 1965. Reprinted Toronto: Lumiere Press, 2000.

Indiens pas morts. Photographs by Werner Bischof, Robert Frank, and Pierre Verger. Text by Georges Arnaud. Introduction by Manuel Tuñon de Lara. Paris: Robert Delpire, 1956. Reprinted as From Incas to Indios, New York: Universe Books, 1956; Incas to Indians, London: Photography Magazine, 1956; Indios, Zurich: Manesse, 1956; Dagli Incas agli Indios, Milan: Feltrinelli, 1957; and Alto Perú, El gran Imperio de los Incas, Pano-rama grafico de la humanidad 3, Barcelona: Artco, Ediciones de Arte y Color, 1959.

Published Portfolios in Periodicals and Annuals

Balish, Jacquelyn, ed. Leica World. New York: American Photographic Book Publishing Co., 1957.

“Ben James: Story of a Welsh Miner.” In U.S. Camera Annual 1955, edited by Tom Maloney, 82– 93. New York: U.S. Camera Publishing Corp., 1954.

“Brooklyn Rolls, the U.S. Rocks.” Life, October 17, 1955, 38 – 43.

“A Bus Ride through New York.” Camera 45, no. 1 (January 1966): 32 – 35.

Caulfield, Patricia. “The Photographer’s Eye.” Modern Photography 28, no. 9 (September 1964): 66 – 77.

“Coney Island: Robert Frank.” Camera 50, no. 3 (March 24, 1971): 24 – 31.

“The Congressional.” Photographs by Robert Frank. Text by Walker Evans. Fortune, November 1955, 118 – 122.

Dobell, Byron. “Featured Pictures: Robert Frank — The Photographer as Poet.” U.S. Camera 17, no. 9 (September 1954): 77 – 84.

Evergreen Review 1, no. 4 (1957): front cover.

Evergreen Review 4, no. 15 (November / December 1960): front cover, 20.

Finsler, Hans. “Photographie und Realität.” Du, March 1964, 29 – 54.

“Giant-Ism: U.S.A.” Portfolio: A Magazine for the Graphic Arts 1, no. 1 (Winter 1950): n.p.

Hall, Norman, and Basil Burton, eds. International Photography Year Book 1956. New York: St. Martin’s Press, 1955.

Hall, Norman, and Basil Burton, eds. International Photography Year Book 1957. New York: St. Martin’s Press; London: Photography Magazine, 1956.

Hall, Norman, and Basil Burton, eds. International Photography Year Book 1959. New York: St. Martin’s Press, 1958. Also published as Photography Year Book 1959. London: Photography Magazine, 1958.

“A Hard Look at the New Hollywood.” Esquire, March 1959, 51 – 65.

“The Highway: Four Photographs by Robert Frank.” Current, no. 7 (November 1960): 32 – 36.

“How These Pictures Were Made.” U.S. Camera 12, no. 2 (February 1949): 60 – 65.

“Indiens des Hauts-Plateaux.” Photographs by Robert Frank. Text by Georges Arnaud. Neuf, no. 8 (December 1952): 1 – 36.

“International Photography.” In U.S. Camera Annual 1951: American-International, edited by Tom Maloney, 142. New York: U.S. Camera Publishing Corp., 1950.

Kerouac, Jack. “On the Road to Florida.” Evergreen Review, no. 74 (January 1970): 42 – 47, 64.

Kraft, Joseph. “Ike vs. Nixon.” Esquire, April 1960, 83 – 87.

Läubli, Walter. “Robert Frank.” Camera 28, no. 12 (December 1949): 358 – 371.

“Leica Portfolio: Presenting Four Examples of the Many Outstanding Contributions Made to Photography by Leica Owners in All Parts of the World.” Leica Photography 9, no. 1 (Spring 1956): 16 – 19.

Leslie, Alfred, ed. “Robert Frank Photographs.” The Hasty Papers (1960): 31, 47.

“Life Announces the Winners of the Young Photographers Contest.” Life, November 26, 1951, 15 – 24, 30, 32.

“London Bankers by Robert Frank.” In Photography Annual 1954, edited by Bruce Downes, 207, 248. New York: Ziff-Davis, 1953.

“The Museum of Modern Art Christmas Show.” In U.S. Camera Annual 1953, edited by Tom Maloney, 158 – 173. New York: U.S. Camera Publishing Corp., 1952.

“The 1953 Contest — How It Was Judged.” [Popular] Photography 33, no. 6 (December 1953): 88 – 212.

Oberli, F. J. “Tree Tales.” Camera 47, no. 6 (June 1968): 17 – 40.

“A Pageant Portfolio: One Man’s U.S.A.” Pageant 13, no. 10 (April 1958): 24 – 35, inside back cover.

“Photographs by Robert Frank.” Choice: A Magazine for Poetry and Photography, no. 2 (1962): 97 – 112.

“Photography at the Museum of Modern Art.” Museum of Modern Art Bulletin 19, no. 4 (1952): 1 – 24.

Photography of the World 1958 Part 1. Tokyo: Heibonsha Publishers, 1958.

“Eine Photoreihe von 16 schweizer Photographen.” Du, January 1953, 3 – 24.

Porter, Allan. “Robert Frank.” Camera 48, no. 3 (March 1969): 6 – 13.

“Portfolio: Photographs by Robert Frank.” Second Coming Magazine 1, no. 1 (January / February 1961): 17 – 21.

“Portraits: The Photographs of Robert Frank.” Art Voices 5, no. 3 (Summer 1966): 57 – 60.

“Robert Frank.” In U.S. Camera Annual 1954, edited by Tom Maloney, 22 – 26. New York: U.S. Camera Publishing Corp., 1953.

“Robert Frank.” Leica Photography 7, no. 1 (Spring 1954): 15 – 18.

“Robert Frank.” In U.S. Camera Annual 1958, edited by Tom Maloney, 91 – 114. New York: U.S. Camera Publishing Corp., 1957.

“Robert Frank: The Americans.” Creative Camera, no. 55 (January 1969): 22 – 31.

“Robert Frank: Indians of Peru.” In U.S. Camera Annual 1952, edited by Tom Maloney, 64 – 65. New York: U.S. Camera Publishing Corp., 1951.

“Robert Frank, Part Two.” Du [special issue on Robert Frank with editorial by Marco Meier], November 2002, 7 – 13, 26 – 87.

“Robert Frank Photographs.” Aperture 9, no. 1 (1961): 4 – 19.

“Robert Frank: Swiss Mister.” Photo Arts [New York] 1, no. 10 (December 1951): 594 – 599.

Rotzler, Willy. “Der Photograph Robert Frank.” Du, January 1962, 1 – 32, 37.

“Salon.” Photo Arts [New York] 1, no. 10 (December 1951): 624 – 629.

Schuh, Gotthard. “The New Selective Lens: Younger American Photographers Enter the Collection of New York’s Museum of Modern Art.” ArtNews 49, no. 5 (September 1950): 22 – 25.

Schuh, Gotthard. “Exhibition Photography as a Means of Expression.” Camera 34, no. 3 (March 1955): 102 – 128.

Schuh, Gotthard. “Robert Frank.” Camera 36, no. 8 (August 1957): 339 – 356.

[Schuh, Gotthard]. “Der Photograph Robert Frank.” Neue Zürcher Zeitung, November 1, 1952, 3.

“Speaking of Pictures: A Photog-rapher in Paris Finds Chairs Everywhere.” Life, May 21, 1951, 26 – 28.

Steichen, Edward. “Post-War European Photography.” In U.S. Camera Annual 1954, edited by Tom Maloney, 9 – 71. New York: U.S. Camera Publishing Corp., 1953.

Talese, Gay. “42nd Street: How It Got That Way, Part I.” Show 1, no. 3 (December 1961): 62–71.

Talese, Gay, and Henry Hope Reed Jr. “42nd Street, Part II.” Show 2, no. 1 (January 1962): 70– 73.

Thétard, Henry. “Magie du cirque.” Neuf, no. 7 (September 1952): 14 – 23.

“Three Groups of Photographs Taken 1955 / 56 on a Trip across the USA.” C Magazine 3 (Fall 1984): 66 – 70.

“T.V. and Teachers Team Up.” Life, December 7, 1953, 71 – 72, 74, 76.

“The Venice Film Festival: Photographs by Robert Frank.” Show 2, no. 5 (May 1962): 60 – 65.

“The Wall.” In U.S. Camera Annual 1949, edited by Tom Maloney, 149. New York: U.S. Camera Publishing Corp., 1948.

“Winter Picture Angles.” U.S. Camera Magazine 12, no. 1 (January 1949): 42 – 43.

“Zwei Photos von Robert Frank.” Du, January 1956, 26 – 27.

Collection Access

The Robert Frank Collection at the National Gallery of Art is available to the public for research. To make an appointment in the study room, please call (202) 842-6144 or e-mail [email protected]. We would like to have at least two weeks' notice for appointments and to be provided with a list of the materials you would like to see.

Rights

Robert Frank owns the copyright to all of his photographic work and correspondence. Reproductions of photographs are not available unless specifically requested and approved by the artist's agent, Pace/MacGill Gallery. If permission is granted for reproduction, please contact the National Gallery for an image and credit line. If any correspondence or other ephemera from the collection is referenced, the author should cite, "The Robert Frank Collection, National Gallery of Art, Washington."

We would like to extend our deepest thanks to Robert Frank and June Leaf for the critical support they have given the National Gallery at all stages of the creation, organization, and dissemination of information about the Robert Frank Collection at the Gallery. In addition, we wish to thank Peter MacGill and Lauren Panzo of PaceMacGill Gallery for their expert guidance and assistance with the Robert Frank Collection Guide as well as the Andrea Frank Foundation and the Marlene Nathan Meyerson Family Foundation for their support.

Numerous individuals have worked to make this guide possible. It was written by Sarah Gordon under the direction of Sarah Greenough, senior curator and head of the department of photographs at the National Gallery of Art. We also wish to thank numerous other past and present members of the department of photographs, including Chloe Downe, Mark Levitch, Andrea Nelson, Maryanna Ramirez, Paul Roth, Julia Thompson, and Leslie J. Ureña, along with Constance McCabe, head of photograph conservation. In digital outreach, we thank John Gordy, Charles Alers, David Beaudet, Svetlana Reznikov-Velkovsky, and László Zeke. In the division of imaging and visual services, we thank Alan Newman, Lorene Emerson, Peter Dueker, Erica Abbey, David Applegate, Debbie Adenan, Rick Blanc, Adam Davies, Gloria Dunlap, Katherine Mayo, Christina Moore, Greg Williams, and Tricia Zigmund. In the registrar’s office, we acknowledge the help of Elizabeth Concha, Sue Finkel, and Mary Suzor; in the secretary and general counsel’s office, we thank Julian Saenz; and in the publishing office, we thank Chris Vogel, Tam Curry Bryfogle, and Melanie Lukas.