Word: steichen
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Were photography nothing more than an aid to memory-snapshots to be pasted in an album-it would perform a service; but in the right hands, the camera goes infinitely beyond the mere literal record. "There is," says Edward Steichen, dean of U.S. photographers, "the photography which seeks to translate into pattern and design the magic of a detail of growth and deterioration. Photography records the gamut of feelings written on the human face, the beauty of the earth and skies that man has inherited, and the wealth and confusion man has created." In a word, photography has become...
...attack was led by famed 81-year-old Photographer Edward Steichen, who is also director of the photography department at Manhattan's Museum of Modern Art, which has been taking photographs seriously for nearly 30 years. The professionals claimed that they alone were qualified to judge their own work; the way to stage a proper show was to select the best photographers and let them submit their best. The magazine Modern Photography published a biting attack on the Metropolitan's exhibit under the title "The Day Photography Was Kicked in the Head...
Cameras on Guns. This year's Met show found tempers even higher. When Dmitri asked Steichen to serve on the 1960 jury, the old man contemptuously dismissed Dmitri as "the Sir Galahad of Photography," denounced his campaign as "the most damaging thing that has ever happened to the art of photography"; it was as if the Metropolitan "went to the sign painters' union for its paintings." Besides, said Steichen, getting to the nub of the controversy: How could anyone tell from one or two entries whether a photographer had been guided by art or accident? "Some...
Taking their inspiration from Edward Steichen's "Family of Man" and from Carl Sandburg's poetry, four attractive young people have produced a program of folk music that is different, refreshing, and exceedingly enjoyable. They sing, play guitars and banjos, pantomine, and experiment with lighting; and last Sunday's Boston audience, while small (only about 100), gave them an enthusiastic response...
...musical interpretation of Steichen's pictorial essay begins and ends with a recitation of the theme: "All man is but one man." With a rapid-moving and never-tiring tempo, the show moves through the various phases of man's life: work and praise, sorrow, prayer, complaint, and love. Between each number the theatre is blackened and the performers take their positions for the next of the songs--some interpreted as still pictures, others with lively action. In the "complaint category," for example, "Talking Union" and "Union Maid" are done with audience participation, including community singing on the chorus...