![]() Scholars working with family albums have mainly come from anthropology, whereas scholars from the aesthetical fields, art history, photography studies, and cultural studies have been more hesitant about how to approach such a material. Having been the most widespread practice of photography since the late 19th century, it is only in the recent few decades that family photography has come into focus of academic attention. Photography (Latvian National Museum of Art, The Arsenals Exhibition Hall, June 26 – September 6, 2015). This article examines the two contradictory directions in Steichen's career and their interpretations by art historians in order to establish a broader context for the work on view in the exhibition Edward Steichen. In Steichen's curated photography exhibits, Road to Victory (1942) and The Family of Man (1955) at the Museum of Modern Art (MoMA) in New York, photographs lost their individuality, and the participating photographers' original intentions were sacrificed for the sake of creating an atmosphere of patriotic pathos. Yet in the mid-20th century Steichen became a master of American political propaganda in photography and remains known for the creation of a radically new and different type of photography exhibit. At the beginning of the 20th century Steichen was a pioneer of Pictorialism, and his 1904 photograph The Pond- Moonlight is a textbook example of this artistic style: intimate, romantic, timeless, and painterly. Edward Steichen's name is associated with the emergence of two aesthetically and thematically different and even oppositely oriented movements in photography. ![]()
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