Similar to the emotive consequence of Frank’s 2003 London/Wales exhibit at the Corcoran, the brazen character of Frank’s early documentary work and his adroit ability to probe deep into the nature of the modern, westernized human condition is the defining characteristic of Frank’s camerawork, and thus the show. From the more simply composed images of bystanders and personalities to intricately ordered pictures calling upon networks of ironic unions, Frank’s handiwork delineates him as one of the most significant photographic artists of the medium’s history. Nonetheless, as previously mentioned, notably today is the dialogue that Frank’s work instigates. As we attempt to move into a new season here at home and around the world, seeking to open new doors communally and individually, a refresher course of Robert Frank’s ‘The Americans’ comes at no better time.

Then comes the decision to make a few quasi-nature photographs. Getting my camera, I headed out of the garage, walked around the side of the house, and spent the next 15 minutes snapping away while slowly creeping up on my subject. Just as I got close enough to get an intimate view of the bird and isolate him within the frame, Mother Nature once again took her shot at mocking me. My feathered friend picked up one of his legs, tucked it within his body, stretched himself out, and proceeded to leave a huge treat on my shirt. Humored, shocked, and moderately frustrated, my audible gasp spooked the freshly relieved bird. All in all, I guess this is the price I have to pay for taking my hand at making some nature photographs.

In reflection, if anything, I would criticize the Corcoran for their superfluous and exploitive political agenda, which affixes an ideology to Avedon’s work nonexistent and unintended by the artist in its rudiments, by the Corcoran’s pairings and placement of particular images. For example, images placed opposed, one of an American Vietnam vet and a Vietnamese napalm victim, is an obvious anti-war statement that is too obvious and belittles the complexity of the greater series. And the location of a Barack Obama portrait (’Democracy 2004′), dead-on center, as one walks in the back end of the exhibit is an overt endorsement of the candidate that is puerile and unnecessary considering the grand context and breadth. Other than this, I am dumbfounded by Dietsch’s comments. I would surmise that she has little understanding of Avedon’s methods and the implications of these methods. Avedon’s portraits sans environment cause the viewer to examine deeper into the psyche of his sitters, not overlook them like bubble gum cards. It is in this closer examination that one sees the embedded intricacies of Avedon’s sitters’ personalities. Furthermore, Dietsch’s distaste for the presence of Avedon’s portraits of “some faces of ordinary folks” in the exhibit is ridiculous. These images, a part of Avedon’s unfinished final portfolio entitled ‘Democracy 2004,’ include images of Republican and Democratic Convention attendees, and ‘joe the plumber’ (I apologize for my 2008 reference) along with the traditional power players of American government and society. To me, Avedon’s photographing these “ordinary folks” in context with the heavy hitters is a statement by Avedon, and acknowledged and reinforced by the Corcoran in including them, that every man and woman, regardless of age, occupation, race, religion, or income plays an important and powerful role in our American democracy. I guess Dietsch missed “the whole point of the show.”