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MODERNISM & THE FAMILY OF MAN Z. GOETSCH. STIEGLITZ: WINTER ON 5TH AVENUE STIEGLITZ MOVES AWAY FROM PICTORIALISM CROPS SECTION IN FRONT OF CAMERA VS..

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Presentation on theme: "MODERNISM & THE FAMILY OF MAN Z. GOETSCH. STIEGLITZ: WINTER ON 5TH AVENUE STIEGLITZ MOVES AWAY FROM PICTORIALISM CROPS SECTION IN FRONT OF CAMERA VS.."— Presentation transcript:

1 MODERNISM & THE FAMILY OF MAN Z. GOETSCH

2 STIEGLITZ: WINTER ON 5TH AVENUE STIEGLITZ MOVES AWAY FROM PICTORIALISM CROPS SECTION IN FRONT OF CAMERA VS.. CROPPING PLATE (WINTER ON FIFTH AVENUE.) PROMOTES A NEW MODERNISM OF “STRAIGHT PHOTOGRAPHY” OF A “RELATION OF SHAPES”

3 FRED HOLLAND DAY ( ) NUDE STUDY, 1907 WEALTHY BIBLIOPHILE; (PUB. FOUNDER OF PUBLISHING FIRM COPELAND & DAY) 3 RD AM MEMBER OF THE LINKED RING DAVIDSON BRINGS’ DAY’S WORK TO ATTENTION OF STIEGLITZ & GETS ONE-PERSON SHOW AT 291 INFLUENCED BY DECADENT MOVEMENT OF DANDYISM (BEFRIENDED OSCAR WILDE); EXTRAVAGANCE IN DRESS & EXQUISITE MANNERS; DISTAIN FOR BOURGEOISIE VALUES OVER ARTIFICIALITY, SELF CONSCIOUSNESS, INTELLECTUAL SKEPTICISM, HUMOR & WALLFLOWERS

4 F. HOLLAND DAY AGAINST ART REFLECTING NATURE OVER PLAY; AMORALITY AS RELIEF FROM POLITICAL & UNDETERRED INDUSTRIALISM (SELVES AS EXTENSION OF ART; EXOTIC COSTUMES & PARADING> DANDYISM); DAY: HISTORICAL & MYTHOLOGICAL COSTUMING OF SUBJECTS; IDYLLIC HOMOEROTIC SENSE OF ANCIENT GREECE OR ORIENTALISM OF AFRICA & MIDDLE EAST; ISSUES OF SEX, RELIGION, RACE & PERFECTION OF YOUTH; ADULT FULL-FRONTAL FEMALE & MALE NUDES CAUSE STIR (LEWD OVER NUDE AS BEAUTY THOUGH SEXUALIZED DETAILS.); BODY AS NATURALLY SENSUAL; JOURNALS RECOMMEND USING YOUNG MALES VS.. FEMALES TO BE “LESS SEXUALLY TITILLATING”

5 THE DANDY FERVENTLY REJECTED BOURGEOIS VALUES, WITH AN INDOLENT LIFESTYLE (LIKE BOHEMIANS), SEEM TO BELONG NOWHERE IN SOCIETY. (UNLIKE BOHEMIANS), DANDIES CHOSE TO EMULATE THE ARISTOCRACY RATHER THAN LIVE IN POVERTY. BAUDELAIRE, A DANDYIST, COMMENTED THAT THE DANDIES HAD "NO PROFESSION OTHER THAN ELEGANCE...NO OTHER STATUS BUT THAT OF CULTIVATING THE IDEA OF BEAUTY IN THEIR OWN PERSONS....THE DANDY MUST ASPIRE TO BE SUBLIME WITHOUT INTERRUPTION; HE MUST LIVE AND SLEEP BEFORE A MIRROR." (SEIGEL, ) ARISTOCRATIC IMITATION: DANDIES LACKED NOBLE BLOOD, CONNECTIONS, AND ANY INNATE CHARACTERISTICS OF ARISTOCRACY; LIKE ACTORS LIVING OUT FANTASIES THAT COULD NEVER COME TRUE; ADOPTED OUTWARD CHARACTERISTICS THAT AIDED IN PUBLIC AND PERSONAL DECEPTION. FASHION: APPEARANCE AND THE LATEST FASHION WAS EVERYTHING TO A DANDY. DELIGHTED IN ELEGANCE AND ACCESSORIES : WHITE GLOVES, ETC. A SIGNIFICANT PART OF THEIR DAY WAS SPENT GROOMING; BAUDELAIRE CLAIMED HE ALWAYS SPENT AT LEAST TWO HOURS AT HIS TOILETTE. THEY ALSO BELIEVED STRONGLY IN CLEANLINESS; BATHED REGULARLY.

6 F. HOLLAND DAY 1898 SUMMER, DAY CAUSES UPROAR OVER HUNDREDS OF EXPOSURES OF CHRIST'S LAST DAYS (STARVATION & GROWING HAIR TO BE OWN MODEL); PHOTO TO DEPICTING SAME SPIRITUAL AWE AS PAINTINGS; SELF AS ARTISTIC & CULTURAL SAVIOR 1900 DAY ORGANIZES 300 PRINTS BY NEW SCHOOL OF AMERICAN PHOTOGRAPHY& OFFERS TO LINKED RING; RIVAL STIEGLITZ TRIES TO INTERVENE & SHOW IS REFUSED; DAY EXHIBITS AT ROYAL PHOTOGRAPHIC SOCIETY THEN TRAVELS EXHIBIT TO PHOTO-CLUB DE PARIS IN 1901; CRITICAL SUCCESS OF SHOW ESTABLISHES AMERICAN PICTORIALISTS IN OLD-GUARD & PHOTO’S PLACE IN THE ART WORLD STIEGLITZ IS BETTER CONNECTED, CHARISMA & INTELLECTUALISM WITH MAJOR TALENT FOLLOWING; DAY HAS 1904 FIRE; WORK DESTROYED, 1917 TAKES TO BED UNTIL DEATH IN 1933

7 FRANK MEADOWS SUTCLIFFE ( ) WATER RATS, 1886 SUTCLIFFE & KÜHN PORTRAY NUDE BOYS AS DOWN-TO EARTH, IN BARBIZON STYLE SETTINGS (FORESTS, SWIMMING IN SEA FOR SPONTANEITY, ETC); CONSIDERED IMMORAL & SUTCLIFFE IS SUTCLIFFE IS EXCOMMUNICATED BY LOCAL CLERGY OF WHITBY FOR “WATER RATS” EXHIBIT, FOR EXPOSING ”…TO THE CORRUPTION OF THE YOUNG AND THE OTHER SEX.” (PURCHASE BY PRINCE OF WHALES) -ACKNOWLEDGED BEAUTY & SENSUALITY OF NAKED NUDE & IMPLYING FORBIDDEN SECRET LIFE OF HOMOSEXUAL LIFESTYLE; DAY IS CONDEMNED FOR DOUBLE SIN OF PORTRAYING NUDE BLACK MAN (HIS CHAUFFEUR & CONFIDANT & COMMON SUBJECT)—FOR CASTING AGAINST TYPE (BLACKS AS EQUALS AS SEXUAL BEING VS.. CLINICAL STUDIES OR SUBSERVIENT)

8 FRANK MEADOWS SUTCLIFFE FLAG OF DISTRESS, 1880’S > < FISHERFOLK, 1880’S

9 PIERRE DUBREUIL INTERPRETATION PICASSO: THE RAILWAY, C.1911 MODERN PHOTOGRAVURE, 9 X 7 1/2 EXPERIMENTS: WITH ABSTRACTION WITH FRAGMENTED KEY SUBJECTS/PARTS WITHIN SCENE (INTERPRETATION PICASSO: THE RAILWAY- 1911); PROJECTION OF RECTANGULAR FORM WITH OUT OF FOCUS DIAGONAL LOCOMOTIVE INTRODUCTION OF ABSTRACTION AS SUBJECT (ALONG WITH RETURN TO SHARP-FOCUS WOULD REDEFINE MODERINSIM-1916 ONWARD)

10 ALVIN LANGDON COBURN ( ); EAGLE BOSTON BORN, COUSIN OF DAY; HELPED DAY’S NEW SCHOOL EXHIBITION IN EUROPE; MEMBER OF MY CAMERA CLUB, MET STEICHEN 1899; 1903, JOINS PHOTO-SECESSION AS YOUNGEST MEMBER INFLUENCED BY TONALISM: 1900 PHOTO & PAINTING MOVEMENT FEATURING IDEALIZED, MELANCHOLY, MYSTERIOUS, PERSONAL, ROMANTIC INTERPRETATION. WITH MUTED COLOR & MOOD COBURN MOVES TO LONDON WHERE GETS REPUTATION AS A CELEBRITY PORTRAIT PHOTOGRAPHER SUCH AS GEORGE BERNARD SHAW & GEORGE MEREDITH; PORTRAITS PUBLISHED IN, MEN OF MARK (1913) AND MORE MEN OF MARK (1922).

11 ALVIN LANGDON COBURN EZRA POUND, VORTOGRAPH JOINS VORTICIST GROUP WITH: WYNDHAM LEWIS, HENRI GAUDIER- BRZESKA, CHARLES NEVINSON, AND WILLIAM ROBERTS. (BLAST ( ), LEWIS ATTACKS THE SENTIMENTALITY OF 19TH CENTURY ART AND EMPHASIZED THE VALUE OF VIOLENCE, ENERGY AND THE MACHINE.). VORTICISM WAS EXPRESSED IN ABSTRACT COMPOSITIONS OF BOLD LINES, SHARP ANGLES AND PLANES. COBURN BEGINS EXPERIMENTING WITH WHAT HE CALLED VORTOGRAPHS: ABSTRACT / NON- OBJECTIVE PHOTOGRAPHS OF SUCH ITEMS AS A PIECE OF WOOD OR CRYSTAL, THROUGH AN ARRANGEMENT OF MIRRORS, RESULTING IN MULTIPLE IMAGES IN 1916 COBURN DESIGNED AN ITEM THE POET EZRA POUND CALLED A VORTOSCOPE, WHICH CONSISTED OF THREE MIRRORS ARRANGED LIKE A KALEIDOSCOPE, WHICH ENABLED MULTIPLE-IMAGE PHOTOGRAPHS TO BE TAKEN.

12 ALVIN LANGDON COBURN VORTOGRAPH OF EZRA POUND, 1911

13 ALVIN LANGDON COBURN EZRA POUND, VORTOGRAPH -KNOWN FOR ‘LIBERATING PHOTOGRAPHY FROM THE NOTION THAT IT IS ONLY ARTISTIC IF IT DEPICTED REALITY, IN HIS VORTOGRAPHS; -BRITISH JOURNAL OF PHOTOGRAPHY (16 FEBRUARY, 1917): (CREATING THESE VORTOGRAPHS) “….WAS THE MOST THRILLING EXPERIENCE HE HAD … PRODUCING AESTHETIC EXCITEMENT AND ENJOYMENT.”

14 ALVIN LANGDON COBURN ST. PAUL’S CATHEDRAL , TRAVELS AMERICAN WEST IN PURSUIT OF NATURAL LANDSCAPE: GRAND CANYON (PICTURES.S REFLECT POETIC NATURE-BASED SPIRITUALISM OF THOREAU, & HARMONY OF RALPH WALDO EMERSON; DIFFICULTY OF PORTRAYING CANYON’S SENSE OF MASSIVE SCALE)TIGHTLY COMPOSITIONS OF SERIAL VIEWS OF SPECIFIC AREAS VS.. SINGLE IMAGE; SEQUENTIAL SERIES FOR MASS VIEWING; TEXTURED PRINTS TO REFLECT SUBJECT MATTER, SOFT FOCUS—DISTORTED SENSE OF DISTANCE (BASS RELIEF OR COLLAPSED) BONDING FORMS THROUGH ABSTRACT PATTERN UPLIFTING W. USE OF CHIAROSCURO FOR GRANDEUR;

15 ALVIN LANGDON COBURN THE OCTOPUS, NEW YORK, PLATINUM PRINT, 1912 WILLIAMSBURG BRIDGE, NEW YORK, PLATINUM PRINT 1909

16 CHEMIST APPRENTICE & PORTRAIT PHOTOGRAPHER; 1897 OPENS OWN STUDIO IN NEW YORK; WORK IN 1 ST PHILADELPHIA SALON OF 1898, NEW YORK SOLO SHOW IN NEW YORK CAMERA CLUB IN 1899, 1ST FEMALE OF LINKED RING IN 1900; EXHIBITED IN DAY’S NEW SCHOOL EXHIBITION & FOUNDING MEMBER OF PHOTO-SECESSION; IN 1 ST ISSUES OF CAMERA WORK, ETC & IN 291… FOUNDED PICTORIAL PHOTOGRAPHERS OF AMERICA IN 1916; A TONALIST… (PRE WWI WOMEN IN PORTRAITURE, FLOWERS & BABY SUBJECTS—COULD BE DONE FROM HOME; EXPECTED TO SERVE TRADITIONAL ROLES AS CARETAKERS) THE ADORATION > GERTRUDE KASEBIER (PRON: KAYZABEER) ( )

17 UNCONVENTIONAL SUBJECT COMPOSITIONS; SUBTLE COMPLEXITIES OF MOTHERHOOD, AND TRANQUIL INTIMACY PORTRAYS INDIVIDUALITY OF SUBJECTS AS A BREAK FROM VICTORIAN TRADITION: – NO BACKDROPS; –BANAL SETTINGS; –GOAL; “LIKENESS THAT ARE BIOGRAPHIES”; THE ESSENCE OF INDIVIDUAL PERSONALITY OR SOUL OF SITTER; –EMPHASIZES THEIR HUMANITY –USED TEXTURED PAPERS TO PHOTOGRAPH HER EMOTIONALLY COMPLEX SUBJECTS GERTRUDE KASEBIER ZTKALA-SA, 1898

18 GERTRUDE KASEBIER

19 ALICE BOUGHTON ( ) DAME MYRA HESS, 1925, BROMIDE PRINT WORKED IN STUDIO OF KASEBIER BECAME MEMBER OF PHOTO- SECESSION INTEREST IN BEAUTY OF YOUNG WOMEN & WROTE ABOUT PORTRAITURE PRACTICE : –TACT, INSTINCT, PATIENCE, AMUSE, OBSERVE, WAIT, BE ALERT & FIND THE RIGHT MOMENT FOR “UNCONSCIOUSNESS…ONE OF THEIR CHARMS” (OF SMALL CHILDREN) WOMEN NOT VOTING BUT MOVE BEYOND CAMERA VS.. IN FRONT OF IT… BY KODAK ADD BY BOUGHTON FOR NEW DAYLIGHT DEVELOPING TANK; – FEATURES TWO WOMEN GOING INTO DARKROOM TO DEVELOP FILM : “WHERE THE TANK ENTERS, THE DARKROOM WORRIES END.”

20 FRANK EUGENE SMITH ( ) PAINTER TO PHOTOGRAPHER & MEMBER OF LINKED RING & FOUNDING MEMBER OF PHOTO-SECESSION RADICAL DISREGARD FOR NEGATIVES : –SCRATCHES IN EMULSION OF NEGATIVE WITH N ETCHING NEEDLE –USES OPTICALLY CORRECTED LENSES – PAINTERLY EFFECT… YOUNG BOY, 1890’S >

21 FRANK EUGENE SMITH MALE NUDE, 1890’S MALE NUDE WITH FRUIT, PHOTOGRAVURE, 1898

22 CLARENCE HUDSON WHITE ( ) UNTITLED (WOMAN IN BED) C SELF-TAUGHT 1898 PHILADELPHIA SALON EXHIBIT; LATER COLLABORATES WITH STIEGLITZ ON NUDE STUDIES SERIES & AUTOCHROME PROCESS SUBJECT MATTER: FAMILY & FRIENDS, MIDDLE CLASS SETTINGS, NATURAL LIGHT FOR EMOTIONALITY; SOFT, EARLY MORNING LIGHT BACKLIGHTING FEATURING DOMESTICITY

23 CLARENCE WHITE THE ORCHARD, 1902STUDY OF A DANCER, 1910

24 CLARENCE WHITE GREEK DANCERS, BARNARD COLLEGE, NEW YORK, 1922THE KISS(REYNOLDS SISTERS), 1902

25 CLARENCE WHITE SHIP CONSTRUCTION, BATH, MAINE, 1917 TEACHES AT COLUMBIA UNIVERSITY, NEW YORK FEUDS WITH STIEGLITZ RE: PHOTOGRAPHY AS A BUSINESS… FOUNDS CLARENCE WHITE SCHOOL OF PHOTOGRAPHY; INSTRUCTS NEXT GENERATION. OF PICTORIAL PHOTOGRAPHERS; PROMOTES PICTORIAL IDEAS THAT STIEGLITZ HAD ABANDONED OUTPUT & DEVELOPMENT REDUCED FROM TEACHING LOAD… (MODERN DILEMMA; SUPPORT & ARTISTIC VITALITY & EARN LIVING WITH LITTLE TO NO RESOURCES.); DIES ON STUDENT PHOTO TRIP IN MEXICO

26 CLARENCE WHITE WHITE & STIEGLITZ: THE TORSO OF MISS THOMPSON, 1905MORNING, 1908

27 CLARENCE WHITE RAINDROPS, 1902COLUMBIA COLLEGE, NEW YORK, 1910

28 CLARENCE WHITE UNTITLED (NUDE STUDY), NUDE STUDY, 1909

29 CLARENCE WHITE NUDE FEMALE, 1909WHITE, BY MARGARET WATKINS, 1923

30 CLARENCE WHITE LETICIA FELIX, 1897LADY IN BLACK WITH STATUETTE, 1908

31 ALFRED STIEGLITZ DANCING TREES, 1922 NOV. 1910, ALBRIGHT ART GALLERY, BUFFALO: INTERNATIONAL EXHIBITION OF PICTORIAL PHOTOGRAPHY ORGANIZED BY STIEGLITZ TO SUM UP PICTORIAL PHOTO: PURCHASE OF 12 PRINTS LEADS TO NEW IDEAS OF CONNOISSEURSHIP; GALLERY SALES, COLLECTIONS SHADOWING CHURCH & GOVERNMENT IDEAS OF ART PATRONAGE (12 TH CENTURY PRE- RAPHAELITE PRACTICE OF ART AS BUSINESS OF SELLING ART) CALLED “THE MOST BEAUTIFUL GALLERY IN AMERICA” PHOTOGRAPHERS AS ARTISTS; PHOTOGRAPHY FOR DISPLAY ON WALLS VS.. ALBUMS T

32 ALFRED STIEGLITZ GEORGIA O'KEEFE, 1922 PICTORIALISM REMOVES PHOTOGRAPHY FROM THE MACHINE; PICTORIALISTS GOAL = POWER OF WORK OVER REFERENCED SOURCE PICTORIAL FAUX LOOK AS TARNISHING THE MOVEMENT; ANY ALTERING = ART (TRAPPINGS OF STYLE WITHOUT CONTENT); A WORN OUT FORMULA STIEGLITZ TURNS TO MODERN ART—ONLY ONE PHOTO SHOW (PAUL STRAND) IN LAST 4 YRS OF 291 GALLERY STRIVING FOR THE “NEW” & UNSEEN (ABSTRACT) REALITIES

33 ALFRED STIEGLITZ GEORGIA O'KEEFE, 1931 PHOTOGRAPHY IS FREED FROM BOUNDARIES OF REPRESENTATION; –AN ELASTIC MEDIUM MUCH LIKE PAINTING; –PLACED IN ART CANNON THEN TO FORMULATE OWN DIRECTION AS AN ART FORM WIT OWN INHERITED CHARACTERISTICS MODERNISM: END OF RENAISSANCE ILLUSIONISM & REALISM OVER CONTEMPORARY EVENTS & EXPERIMENTAL REPRESENTATION; FROM DECLINE OF CHURCH AND STATE OVER MAN)

34 KARL BLOSSFELDT MONK’S HOOD, 1930’S NEW CAPITALIST ART MARKET ; –SMALL SALES = MORE FREEDOM TO EXPLORE WITH CONTENT, AESTHETICS & CRITIQUE OF SOCIAL ORDER; –IMPLICIT CONTENT AS IMPORTANT AS SUBJECT MATTER; – MEANING PLACED IN WORK BY ARTIST TO BE READ BY VIEWER = NEW CRUMBING OF RELIGIOUS ORDER & AUTHORITY

35 KARL BLOSSFELDT NIGELLA, 1950’S ALIENATION (POLITICALLY FROM WWI INFO SUPPRESSION; DISTRUST OF GOVERNMENT & SHOCK AT HARSH REALITIES & SUFFERING OF WAR LED TO DISINTEREST & DISTRUST IN AUTHORITARIANISM THEORIES OF KARL MARX ADOPTED: ART AS INTEGRAL TO DAILY LIFE SOCIAL FUNCTION OF ART FROM PUBLIC TO PRIVATE AESTHETIC & INDIVIDUALISTIC; MAR X ADVOCATES: ART TO BE VITAL & NOT DIVORCED FROM COMMON MAN & POLITICAL SPHERE; ART FOR SOCIAL CHANGE FROM A SPLIT BETWEEN WESTERN CAPITALISM & SOCIALIST POSITIONING OF MARX;

36 KARL BLOSSFELDT LARKSPUR, 1930’S CONFLICTING FORCES AT ROOTS OF MODERNISM: SPEED OF TECHNOLOGY CAUSES DISORIENTATION & LOSS OF CULTURAL VALUES; DISPLACEMENT OF MAN IN LABOR BY MACHINE IN THE INDUSTRIAL AGE , HIGH PACE OF TECHNOLOGICAL REINVENTION LEADS TO TECH OPTIMISM

37 EDWARD JEAN STEICHEN ( ) THE FLATIRON BUILDING, 1904 BORN IN BIVANGE, LUXEMBOURG; 1881, IMMIGRATES TO US PAINTER & MASTER PICTORIALIST VISITS STIEGLITZ;STIEGLITZ BUYS 3 PHOTOS FOR $5 EACH; IN DAY’S EXHIBITION IN 1901; ELECTED TO LINKED RING & BEFRIENDED AGUSTE RODIN 1902, FOUNDING MEMBER OF PHOTO-SECESSION & STUDIO SPACE AT 291 AESTHETIC SENSITIVITY, ENORMOUS & DIVERSE PRODUCTIVITY & A TECH VIRTUOSO; MOST EXTENSIVELY PUBLISHED & CRITICALLY EXAMINED PHOTO-SECESSION MEMBER

38 EDWARD STEICHEN THE POND MOONLIGHT, PHOTOGRAVURE, 1906 MET PUBLIC’S EXPECTATIONS OF AVANT GARDE AS SUBJECTIVE RESPONSE TO THE VISIBLE WORLD ; ADVOCATED PHOTOGRAPHY AS AN EXPRESSIVE STATEMENT PROCESS: GUM PRINTS & COPY NEGATIVES & ALTERATIVE PRINTING TECHNIQUES APPEAL TO MOODY, MEDITATIVE FANTASY RETURN OF SPIRITUALITY TO ART: LIGHT AS SUBJECT (MOONLIGHT: THE POND) –ATMOSPHERIC, NOSTALGIA, SENSUAL, ARCHETYPAL, TRANSITORY, –MYSTERY OF CHIAROSCURO; –ORIGINAL BEYOND VISIBLE (ETHEREAL) EXPERIENCE; ART AS SPIRITUALITY

39 EDWARD STEICHEN MOONRISE, 1904 BROOKLYN BRIDGE, 1903

40 EDWARD STEICHEN EDWARD RODIN, LE PENSEUR, HALFTONE ALFRED STEIGLITZ AT 291, 1915

41 EDWARD STEICHEN LOTUS, MOUNT KISCO, 1915 GEORGE WASHINGTON BRIDGE, 1915

42 EDWARD STEICHEN THE SPIRAL SHELL,FRANCE VERS, 1921 ANNA MAE WONG, 1903

43 EDWARD STEICHEN GLORIA SWANSON, 1934 IN MEMORIAM, 1904

44 EDWARD STEICHEN MARLENE DIETRICH, 1934 GRETA GARBO, 1928

45 EDWARD STEICHEN WHITE, 1935 FRED ASTAIRE ON FILM SET OF TOP HAT, 1921

46 EDWARD STEICHEN STILL-LIFE, 1930 SHIRLEY TEMPLE, 1938

47 EDWARD STEICHEN EMPIRE STATE BUILDING, 1932 F. HOLLAND DAY: PORTRAIT OF STEICHEN

48 EDWARD STEICHEN THE FLATIRON, 1905 WWII, SERVED AS DIRECTOR OF THE NAVAL PHOTOGRAPHIC INSTITUTE HIS WAR DOCUMENTARY: : THE FIGHTING LADY –WON THE 1945 ACADEMY AWARD FOR BEST DOCUMENTARY; SERVED UNTIL 1962 AS THE DIRECTOR OF PHOTOGRAPHY AT NEW YORK'S MUSEUM OF MODERN ART ;

49 EDWARD STEICHEN AT THE FAMILY OF MAN, , EDWARD STEICHEN CURATES THE FAMILY OF MAN EXHIBITION AT THE MUSEUM OF MODERN ART : –A VAST EXHIBITION OF 508 PHOTOS THAT DEPICTED LIFE, LOVE AND DEATH IN 68 COUNTRIES. –FEATURED NUCLEAR EXPLOSION IMAGE IN ACETATE; ONLY COLOR… –STEICHEN'S BROTHER-IN- LAW, CARL SANDBURG, WROTE THE INTRODUCTION FOR THE EXHIBITION CATALOG;

50 FAMILY OF MAN EXHIBITION CONSUELO KANAGA: MOTHER WITH CHILDREN IN NEW YORK, 1922

51 FAMILY OF MAN EXHIBITION : DOROTHEA LANGE: MIGRANT MOTHER, 1936 THE PHOTOGRAPHERS WHO TOOK PART INCLUDED: DOROTHEA LANGE, ROBERT CAPA, HENRI CARTIER-BRESSON, JECK DELANO, MARGARET BOURKE-WHITE, ESTHER BUBLE, BERT HARDY, EDWARD WESTON, MATHEW BRADY, WAYNE MILLER, EVA ARNOLD FRANK SCHERSCHEL, IRVING PENN, CONSUELO KANAGA, AFRED EISENSTAEDT, BILL BRANT, RUSSELL LEE, CARL MYDANS, BEN SHAHN, AND MARION PALFI.

52 FAMILY OF MAN EXHIBITION ARTHUR LEIPZIG: BROOKLYN BRIDGE, 1946

53 FAMILY OF MAN EXHIBITION’S FINAL IMAGE WILLIAM EUGENE SMITH: THE WALK TO PARADISE GARDEN, NEW YORK, 1946 THE PROFESSED AIM OF THE EXHIBITION WAS TO MARK "ESSENTIAL ONENESS OF MANKIND THROUGHOUT THE WORLD." DURING THE TIME IT WAS OPEN, THE FAMILY OF MAN BECAME THE MOST POPULAR EXHIBITION IN THE HISTORY OF PHOTOGRAPHY; CRITICIZED FOR WESTERN REPRESENTATION IN CONTENT & FORM…

54 FAMILY OF MAN EXHIBITION, AT CLERVAUX BECAME A TRAVELING EXHIBIT BEFORE BEING DONATED TO THE GRAND DUCHY OF LUXEMBOURG (AT STEICHEN’S REQUEST); IT IS NOW PERMANENTLY HOUSED IN THE LUXEMBOURG TOWN OF CLERVAUX

55 ALFRED STIEGLITZ EQUIVALENTS, ’S


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