This edition of HOLD STILL keep going is now the second reprint of the catalogue to Robert Frank's 2001 exhibition of the same name at Museum Folkwang in Essen. The book explores the role of film in Frank's work, and the interaction between the still and moving image that has engaged him since the late 1950s. HOLD STILL keep going adopts a non-chronological approach, including photographs, film-stills, 35mm filmstrips, as well as photo-montages that present his most famous series alongside less known work. Text, from hand-written phrases on photographs (of which HOLD STILL keep going is but one example) to the dialogues in his films, emerges as a crucial tool, one also central to Frank's visual diaries which comprised his later experiments in bookmaking.

Autorentext
Robert Frank (19242019) is an acknowledged master of photography and the photobook. Born in Zurich, he immigrated to the United States in 1947. Frank is best known for his seminal book The Americans, first published in English in 1959, which gave rise to a distinctly new form of the photobook, and his experimental film Pull My Daisy of 1959. Frank's other important projects include the books Black White and Things (1954), Lines of My Hand (1972), the film Cocksucker Blues for the Rolling Stones (1972), and his visual diaries (201017). Steidl has published over 30 of Frank's books, including his last, Good Days Quiet (2019).

Klappentext

This edition of HOLD STILL - keep going is now the second reprint of the catalogue to Robert Frank's 2001 exhibition of the same name at Museum Folkwang in Essen. The book explores the role of film in Frank's work, and the interaction between the still and moving image that has engaged him since the late 1950s. HOLD STILL - keep going adopts a non-chronological approach, including photographs, film-stills, 35mm filmstrips, as well as photo-montages that present his most famous series alongside less known work. Text, from hand-written phrases on photographs (of which "HOLD STILL - keep going" is but one example) to the dialogues in his films, emerges as a crucial tool, one also central to Frank's visual diaries which comprised his later experiments in bookmaking.