Word: stieglitz
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Dates: during 1970-1979
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Evans took to photography as something that he could make respectable. Scorning both the "artistic" and "commercial" examples of Stieglitz and Steichen. Evans forged a new photographic tradition based on typical scenes shot from eye level, usually from a middle distance, and in bright daylight. "Most photographers were very uneasy in my youth and they all were uncomfortable about whether what they were doing was art or not. I never was bothered about that, luckily--mencumbered by that nonsense." Evans always had a firm conviction in "straight" photography. His is "cool, precise as a police report, emotionally aloof," according...
Nature Poet. This meant that his sense of sharing a project with others, crucial to any experimenter, had to be found at home. The only audience was other artists-the group around the "291" Gallery, including John Marin and Marsden Hartley, presided over by Photographer Alfred Stieglitz, who was, in Sherwood Anderson's words, "father to so many puzzled, wistful children of the arts in the big, noisy, growing and groping America." Like other "291" artists, Dove was a nature poet: he never contemplated going to the extreme of "pure" abstraction. "I can claim no background," he once reflected...
Perhaps the most interesting of Dove's early works was a series of about 25 assemblages he did between 1924 and 1930, including Portrait of Ralph Dusenberry (1924). It owes something to Picabia (who, some years before, had done a number of "object-portraits"-Stieglitz as a camera and so forth), but the fascinating aspect today is how prophetic this small image is. No doubt Dove meant the folding inch-rule that runs round the portrait like a frame to be a gruff joke-how do you measure the fictional space of a painting? But that joke, 35 years...
...provoke an awareness of the feminine contribution to photography. Such an effort has been a long time coming and it's a good idea: not only because there are strikingly female approaches to the art, but because women in the field have generally been ignored. The names of Alfred Stieglitz, Edward Steichen and Lee Friedlander are familiar to many people, and one will note they are all men. Now, when was the last time someone mentioned Doris Ulmann, Berenice Abbott or Gertrude Kasebier? Men control the publication of most books and magazines, write about photography's history and determine, according...
...clouds blowing over the dunes. While Strand has emphasized the staccato patterns of vegetation almost mirroring the clouds above, O'Keffe isolates two trees and focuses on their branches and on their dominant relation to the environment, a closeup rather than a landscape. (O'Keefe was married to Alfred Stieglitz, the eminent photographer that greatly influenced both his wife and Strand.) Yet both works maintain the majestic space of the Southwest, a testimony to each artist's involvement with the people. "Ranchos of Taos Church," (1932) confirms this understanding of the Spanish civilization and furthers Strand's abstract theme...