In the years immediately following World War II, the artistic conventions for photography shifted away from direct representation toward both abstraction, as in the case of Siskind, or themes of alienation, like those found in Robert Frank’s Americans

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In the years immediately following World War II, the artistic conventions for photography shifted away from direct representation toward both abstraction, as in the case of Siskind, or themes of alienation, like those found in Robert Frank’s Americans. Please discuss one of these two tendencies in the context of Cold War politics the midcentury economic boom. Focus on shifting conceptions of photographic truth and the political value of appearances.

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