<note><![CDATA[© Robert Frank, courtesy of Pace / MacGill Gallery, New York]]></note>
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<title><![CDATA[Sick of GoodbyΓÇÖs]]></title>
<title2><![CDATA[<br>1978 (detail)]]></title2>
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<body><![CDATA[Frank gave up still photography for cinema in 1959. His debut that same year, Pull My Daisy , was a milestone in independent American cinema. Made with a collective of artists and writers including Allen Ginsberg and Jack Kerouac, the film was partly improvised and<br>free-form. A year later Frank joined the New American Cinema Group of film-makers in New York, whose manifesto began with the then innovative notion ΓÇ£cinema is indivisibly a personal expressionΓÇ¥. After a decade of experimenting with film, Frank returned to photography (although he continues to make movies to this day). However, he had no desire to resume his old ways. His work became raw and visceral. Words and remarks interspersed the photos, which were glued, taped and nailed together to strengthen the emotion behind them. In Sick of GoodbyΓÇÖs words drip violently off a mirror, impulsive and disturbing. The images cross the boundaries between poetry and art. They become like paintings, less formal. Even the structure of the photograph canΓÇÖt contain the image or the intention. FrankΓÇÖs photographs were no longer chosen for any wider social meaning. They became wholly personal. His return to photography coincided with the tragic death of his daughter, Andrea, in 1974. His pictures became a witness to his own inner life. As he stated in his 1968 film Me and My Brother: ΓÇ£In this film all events and people are real, whatever is unreal is purely my imagination.ΓÇ¥]]></body>
