Revisiting The 1910 International Exhibition Of Pictorial Photography

This thesis constructs a history surrounding the organization and hanging of the 1910 International Exhibition of Pictorial Photography, which was arranged by Alfred Stieglitz and the Photo-Secession for the Buffalo Fine Arts Academy at the Albright-Knox Art Gallery (then the Albright Art Gallery). This history identifies those involved in the planning and execution of the exhibition and is presented as a timeline of events revealed largely through correspondence between Stieglitz and Cornelia Sage, Director of the Albright Art Gallery. This thesis also examines in detail the installation of the 594 selected works exhibited at the Buffalo institution. In addition, this thesis project outlines the procedure of developing a small exhibition to honor the centennial anniversary of the International Exhibition of Pictorial Photography. Presented to the curatorial staff at George Eastman House International Museum of Photography and Film in Rochester, New York, the proposed exhibition is intended to hang during the 2010 calendar year.

Camera Work And The Alfred Stieglitz Collection At The Metropolitan Museum Of Art

The Metropolitan Museum of Art (MMA) holds a significant portion of the personal art collection of Alfred Stieglitz (1864-1946), photographer, publisher, gallery dealer and champion of photography. The Department of Photographic is home to 733 photographic objects by Stieglitz and artists whose work he collected, and 349 publications from Stieglitz's library, including his personal set of Camera Work, a journal he conceived published, and edited from 1903 to 1917. This thesis is an applied project that focuses on cataloguing Camera Work in The Museum System (TMS), the MMA's collection database system. The 191 prints and photographs in the Stieglitz Collection, which are associated with reproductions in the journal, are cross-referenced within the newly created bibliographic records. The thesis provides background information on Stieglitz, his collection at the MMA and Camera Work, along with detailed description of the project, cataloguing methodology, and an illustrated appendix listing and illustrating each of the 191 collection objects with their respective issues and reproduction methods.

Revisiting The 1910 International Exhibition Of Pictorial Photography

This thesis constructs a history surrounding the organization and hanging of the 1910 International Exhibition of Pictorial Photography, which was arranged by Alfred Stieglitz and the Photo-Secession for the Buffalo Fine Arts Academy at the Albright-Knox Art Gallery (then the Albright Art Gallery). This history identifies those involved in the planning and execution of the exhibition and is presented as a timeline of events revealed largely through correspondence between Stieglitz and Cornelia Sage, Director of the Albright Art Gallery. This thesis also examines in detail the installation of the 594 selected works exhibited at the Buffalo institution. In addition, this thesis project outlines the procedure of developing a small exhibition to honor the centennial anniversary of the International Exhibition of Pictorial Photography. Presented to the curatorial staff at George Eastman House International Museum of Photography and Film in Rochester, New York, the proposed exhibition is intended to hang during the 2010 calendar year.

Camera Work And The Alfred Stieglitz Collection At The Metropolitan Museum Of Art

The Metropolitan Museum of Art (MMA) holds a significant portion of the personal art collection of Alfred Stieglitz (1864-1946), photographer, publisher, gallery dealer and champion of photography. The Department of Photographic is home to 733 photographic objects by Stieglitz and artists whose work he collected, and 349 publications from Stieglitz's library, including his personal set of Camera Work, a journal he conceived published, and edited from 1903 to 1917. This thesis is an applied project that focuses on cataloguing Camera Work in The Museum System (TMS), the MMA's collection database system. The 191 prints and photographs in the Stieglitz Collection, which are associated with reproductions in the journal, are cross-referenced within the newly created bibliographic records. The thesis provides background information on Stieglitz, his collection at the MMA and Camera Work, along with detailed description of the project, cataloguing methodology, and an illustrated appendix listing and illustrating each of the 191 collection objects with their respective issues and reproduction methods.

Re-Reading the Machine Age: The ‘Audacious Modernity’ of the Techno-Bathetic Avant-Gardes

Chapter 2 explores how the proto-Dada artists of New York City proposed new ways of reading Machine Age America. Rather than invoking the power and efficiency of its machines and infrastructure, it argues that these vanguardists emphasised their delicacy, intricacy and fragility. Sections one and two detail the divergent aesthetics of two key modernist formations: the technological sublime of Alfred Stieglitz and his ‘Young American’ literary acolytes (including Waldo Frank and Lewis Mumford); and the techno-bathetic proto-Dadaists of the magazine 291, exemplified by Francis Picabia. The third section analyses the techno-bathetic practices of Marcel Duchamp in his New York Dada phase, as well as crucial responses to that work by Baroness Elsa von Freytag-Loringhoven, Mina Loy and William Carlos Williams. The fourth section focuses on the work of the Baroness, who interrogated the implications of socio-technics for problems of sex, gender and nationality. Finally, section five focuses on Loy’s poetry, fashion designs, inventions, and technicities; for the first time, it unveils her invention ‘verrovoile’, a translucent thermoplastic she profiled in a previously unknown 1929 newspaper article. The chapter argues that, through her poetry and inventions, Loy helped introduce the concept of the artist-engineer to transatlantic discourse in the mid-1920s.

“What is 291?”

“What is 291?” The results of this survey, issued in 1914 by the photographer Alfred Stieglitz to artists, writers, and patrons of his gallery, known by its address at 291 Fifth Avenue, were published in his magazine Camera Work (1903–1917). However, just as Stieglitz was issuing the questionnaire, his associates—Marius de Zayas, Paul Haviland, Agnes Ernst Meyer, and Francis Picabia—were already planning a magazine called 291 (1915–1916), thereby transforming the question even as it was being asked. Read as a response to the questionnaire, the publication 291 destabilizes and amplifies the community Stieglitz had established, while visually embedding its history into the pages of the new magazine. Taking 291 as a case study of the avant-garde and its legacies, this essay traces the origins of the magazine from its predecessors—that is, the periodical Camera Work and the gallery 291—to consider “What is 291?” and its afterlife. Emerging from the intersection of a magazine and gallery as a new iteration of print culture, 291 worked to expand the American avant-garde and to reimagine the magazine as a medium.