Detroit Institute of Arts Looks at 1950s Detroit through the Eyes of Robert Frank
Detroit Experiences: Robert Frank Photographs 1955
showcases rare Detroit photos by famed photographer
Belle Isle, 1955, gelatin silver print.
Detroit Institute of Arts. © Robert Frank, from The Americans. DIA No. T2008.82
Detroit Experiences: Robert Frank Photographs, 1955 showcases more than 50 rare and many never-before-seen black-and-white photographs taken in Detroit by legendary artist Robert Frank. The exhibition will be on view at the Detroit Institute of Arts (DIA) March 3–July 4, 2010.
The exhibition is free with museum admission.
In 1955 and 1956 Robert Frank traveled the U.S. taking photographs for his groundbreaking book The Americans, published in 1958.
With funding from a prestigious Guggenheim grant, he set out to create a large visual record of America, and Detroit was one of his early stops. Inspired by autoworkers, the cars they made, along with local lunch counters, drive-in movies and public parks such as Belle Isle, Frank transformed everyday experiences of Detroiters into an extraordinary visual statement about American life. According to Frank, The Americans included “things that are there, anywhere, and everywhere…a town at night, a parking lot, the man who owns three cars and the man who owns none…the dream of grandeur, advertising, neon lights…gas tanks, post offices and backyards….”
The exhibition includes nine Detroit images that were published in The Americans. as well as, for the first time, an in-depth body of work representative of Frank’s Detroit, its working-class culture and automotive industry. Frank was drawn to Detroit partly by a personal fascination with the automobile, but also saw its presence and effect on American culture as essential to his series. Frank was one of the few photographers allowed to take photographs at the famous Ford Motor Company River Rouge factory, where he was amazed to witness the transformation of raw materials into fully assembled cars. In a letter to his wife he wrote, “Ford is an absolutely fantastic place…this one is God’s factory and if there is such a thing – I am sure that the devil gave him a helping hand to build what is called Ford’s River Rouge Plant.” Frank spent two days taking pictures at the Ford factory, photographing workers on the assembly lines and manning machines by day, and following them as they ventured into the city at night.
Drugstore, Detroit, 1955, gelatin silver print.
Detroit Institute of Arts. © Robert Frank, from The Americans. DIA No. 1999.71
Whether in the disorienting surroundings of a massive factory or during the solitary and alienating moments of individuals in parks and on city streets, the Swiss-born photographer looked beneath the surface of life in the U.S. and found a culture that challenged his perceptions and popular notions of the American Dream. Further accentuating his view of America, Frank developed an unconventional photographic style innovative and controversial in its time. Photographing quickly, Frank sometimes tilted and blurred compositions, presenting people and their surroundings in fleeting and fragmentary moments with an unsentimental eye.
Robert Frank, Assembly Plant, Ford, Detroit, 1955, gelatin silver print.
Detroit Institute of Arts. © Robert Frank. DIA No. 1999.11
Beat poet Jack Kerouac expressed the complex nature of the artist and his work in a passage from his introduction to The Americans stating, “Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the tragic poets of the world.” Born in 1924 in Zurich, Switzerland, Frank emigrated to the U.S. in 1947. He worked on assignments for magazines from 1948–53, but his photographic books garnered the highest acclaim.
After publishing The Americans, he began filmmaking and directed the early experimental masterpiece Pull My Daisy, in collaboration with Jack Kerouac in 1959. Frank continues to work in both film and photography and has been the subject of many traveling exhibitions in recent years. The National Gallery of Art, Washington, D.C. established Frank’s photographic archive in 1990 and organized his first traveling retrospective, Moving Out, in 1995 as well as a 2009 exhibition Looking In: Robert Frank’s “The Americans.” Frank lives in Mabou, Nova Scotia, and New York City with his wife, artist June Leaf.
Drive-In Movie, Detroit, 1955, gelatin silver print.
Robert Frank, Assembly Plant, Ford, Detroit, 1955, gelatin silver print.
Detroit Institute of Arts. © Robert Frank. DIA No. 1999.11
Beat poet Jack Kerouac expressed the complex nature of the artist and his work in a passage from his introduction to The Americans stating, “Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the tragic poets of the world.” Born in 1924 in Zurich, Switzerland, Frank emigrated to the U.S. in 1947. He worked on assignments for magazines from 1948–53, but his photographic books garnered the highest acclaim.
After publishing The Americans, he began filmmaking and directed the early experimental masterpiece Pull My Daisy, in collaboration with Jack Kerouac in 1959. Frank continues to work in both film and photography and has been the subject of many traveling exhibitions in recent years. The National Gallery of Art, Washington, D.C. established Frank’s photographic archive in 1990 and organized his first traveling retrospective, Moving Out, in 1995 as well as a 2009 exhibition Looking In: Robert Frank’s “The Americans.” Frank lives in Mabou, Nova Scotia, and New York City with his wife, artist June Leaf.
Drive-In Movie, Detroit, 1955, gelatin silver print. Detroit Institute of Arts. © Robert Frank, from The Americans. DIA No. F78.63
Hours and Admission
Museum hours are 10 a.m.–4 p.m. Wednesdays and Thursdays, 10 a.m.–10 p.m. Fridays, and 10 a.m.–5 p.m. Saturdays and Sundays. Admission is $8 for adults, $6 for seniors, $4 for ages 6-17, and free for DIA members. For membership information call 313-833-7971.
The Detroit Institute of Arts (DIA), one of the premier art museums in the United States, is home to more than 60,000 works that comprise a multicultural survey of human creativity from ancient times through the 21st century. From the first van Gogh painting to enter a U.S. museum (Self Portrait, 1887), to Diego Rivera's world-renowned Detroit Industry murals (1932–33), the DIA's collection is known for its quality, range, and depth.
Programs are made possible with support from
Hours and Admission
Museum hours are 10 a.m.–4 p.m. Wednesdays and Thursdays, 10 a.m.–10 p.m. Fridays, and 10 a.m.–5 p.m. Saturdays and Sundays. Admission is $8 for adults, $6 for seniors, $4 for ages 6-17, and free for DIA members. For membership information call 313-833-7971.
The Detroit Institute of Arts (DIA), one of the premier art museums in the United States, is home to more than 60,000 works that comprise a multicultural survey of human creativity from ancient times through the 21st century. From the first van Gogh painting to enter a U.S. museum (Self Portrait, 1887), to Diego Rivera's world-renowned Detroit Industry murals (1932–33), the DIA's collection is known for its quality, range, and depth.
Programs are made possible with support from
the Michigan Council for Arts and Cultural Affairs and the City of Detroit.
