Essay – Grouping Photographs of Robert Frank and Walker Evans
Introduction
In this paper, photographic art of Robert Frank and Walker Evans has been discussed with reference to the similarities between the two artists. Since both artists were Americans and were alive at the same time as each other, therefore similar themes and motivations can be observed in their works. The photographs can be perceived as a reflection of the American society and their economic and living conditions during the mid-1900s. Human life and its condition seem to be the central theme of all of the chosen photos, along with an emphasis on the American Society and its dismal state.
The central motif of this sequence of pictures is that the steady deterioration of the American Society, and its living conditions. The sequence is headed with Walker Evans’ photo titled Studio Portraits, features numerous pictures of different individuals, serving as a background of the word “Studio”, which stretches across the center of the picture. Upon close inspection, it can be observed that the individuals featured in the background vary from adults to children of all ages.
The fact that the picture states “Studio” can be a representation of how the world can be perceived as a studio, and all the men, women, and children living in it, are subjects, ready to be observed, in their lifestyles and living conditions, which is the purpose of this visual text. The first picture depicts seemingly happier faces, which can be interpreted as an act, which is put on by all individuals in the society or studio, that is it can also be perceived as a the outward expression of individuals when they know that they are being observed. In the second, a photo titled Wellfleet, Massachusetts, which was captured by Walker Evans in 1931 and published in 1971, a faded picture of a middle-aged man can be observed through a window. The photo implies on run-down conditions of the American Society during the period of this photo’s capture.
The middle-aged man seems well off, but the sad state of the window and the fading picture suggest that the conditions of the man, who may be taken as an interpretation of the American Society understand the poor conditions that may have been developing in America during those times. The use of an inanimate object, to reflect a human being, can be interpreted as the suggestion that the true feeling or expression of an individual can only be observed if they feel that no one is watching or observing them. Thus, the second photo is in contrast with the first one.
Similarly, in Walker Evans’ License Photo Studio of 1934 the artist features a small deserted photo booth in which painted hands point towards the entrance of the booth while the text on the side informs the viewer of applications of car road tests, for which services would be available in the booth. A faded sign that states driving school is also barely visible at the top of the photo booth. It can be observed that no space is wasted as the booth serves as the foundation and base for a staircase that runs over it. The picture can be observed as a reflection of the trends that were visible in the American Society during1934. The slightly rundown condition of the booth, however, suggests slight negligence on maintenance, reflecting the steady degradation of business activities and living conditions. Walker Evans frequently utilized people found in roadside stands, or cafes with an indigenous expression on their faces . The picture aptly titled Faces, Pennsylvania Town, which was taken in 1936 and printed in 1962, also focuses on the face of two men. It can be observed from eh clothing of the men that they are not extremely well off, or are involved in some hard work. Therefore, the picture can be seen as a reflection of the deteriorating lifestyle of the men during those times. Both the subjects of the photo are looking past each other and seem to be either lost in thought or looking for something.
As it can be observed in Walker Evans, Joe’s Auto Graveyard, which was published in 1971, that the deserted ground of the picture reflected the desolated and inactive ground where the automobiles were discarded. Although the cars are not in horrible condition, they seem to be stripped of any glamor or luxury that they may have possessed. The picture could be referred to as an example of the emptiness that the different members of the American society had begun to feel in the 1930s as well as in later years.
Consequences of the Sequence
The consequences of the sequence could be more destruction and desolation in the featured American Society. Since the subjects of the photos were seemingly sad and forlorn individuals, and the state of affairs in the sequence seems to be getting more and more dismal with every picture, therefore it can easily be suggested that the consequences or the aftermath of the sequence will be more dismal and sad.
There is little revealed information regarding the pictures featured in this sequence. However, evidence suggests that the pictures seem to be so closely related due to the close relation which existed between the two artists who are featured in the discussion.
In terms of contextual information and the artists, Robert Franks’ talent for photography was recognized by Walker Evans, who pushed the younger artist to pursue and secure a Guggenheim grant to travel and publish photos across the country. Some of those pictures are also part of the above discussion . Bleakness is a very visual theme in Robert Frank’s photography, which was apparent in the above photos as well as the collection that was published in the book titled “The Americans”. As a result of this bleakness and the dismal state of the subjects of the pictures, the photos might not have been well received, but the sequence presented above is in complete cohesion as the sad state of affairs is now a widely accepted reality of the world.
Conclusion
It can thus be observed that both the artists, who live in the same era, were more or less of the same opinion regarding the subjects of their photographs and the society. The sequence that has been provided in this essay also hints on the same themes, as the superficial joy and smiles of the subjects can only be observed in the first picture, but upon closer inspection of the subjects of the following pictures, the situation is not as cheery as previously could have been perceived. In fact, the reflection of the sorry state of affairs and the inner struggles of the individuals is even reflected in the inanimate subjects such as the automobile graveyard and the photo booth. In fact, the end of the sequence, which features, the automobile graveyard, can be referred to as the inner feeling of most of the society that were featured at the beginning of the sequence.
Works Cited
Alexander, Simon, et al. The Daily Book of Photography: 365 readings that teach, inspire & entertain. Irvine, Calif.: Walter Foster, 2010. Print
