New York

Tod Papageorge

Daniel Wolf

Tod Papageorge has a way with words. In the introduction to the catalogue for the Evans and Frank show, which Papageorge put together as an homage, there are moments of real eloquence. They come when he addresses himself directly to the photographs. He takes a surprisingly persuasive view of Frank’s The Americans, for instance, as a kind of group portraiture in which “heads are drawn with the sculptural brevity of those found on worn coins.” A phrase like that makes clear the truth of what Papageorge says in his first paragraph: this exhibition was “born of love and respect.” Only someone who really did love Frank’s work would take the trouble to make his description of it so precise and so apt. Papageorge does Evans’ pictures equal justice when he speaks of “meanings which reside in [their] detail . . . as an etymology resides in a word.” He means that from an Evans picture of a room, we

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