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At the start of the 20th century Alfred Stieglitz was the single most important figure in American photography. [4] He had been working for many years to raise the status of photography as a fine art by writing numerous articles, creating exhibitions, exhibiting his own work and, especially by trying to influence the artistic direction of the Camera Club of New York.
Throughout 1911 and early 1912, Stieglitz organized ground-breaking modern art exhibits at 291 and promoted new art along with photography in the pages of Camera Work. By the summer of 1912, he was so enthralled with non-photographic art that he published an issue of Camera Work (August 1912) devoted solely to Matisse and Picasso. [16]
When Stieglitz began independently publishing his own journal Camera Work in 1903, interest in Camera Notes quickly flagged. The photographers and critics who were at the forefront of fine art photography at the time recognized that, for all his shortcomings, Stieglitz really was the driving force in the movement. [5]
View of the Gertrude Käsebier and Clarence H. White exhibition at the Little Galleries of the Photo Secession, 1906 (published in Camera Work, No. 14, 1906). When Stieglitz returned to New York in 1905 Edward Steichen was living in a studio apartment on the top (fifth) floor of a small building at 291 Fifth Avenue, between 30th and 31st Streets on the East side of the avenue.
The following notice appeared in Camera Work, no. 3, Supplement, July 1903 . The Photo-Secession "So many are the enquiries as to the nature and aims of the Photo- Secession and requirements of eligibility to membership therein, that we deem it expedient to give a brief résumé of the character of this body of photographers.
Stieglitz first published The Steerage in the October 1911 issue of Camera Work, which he had devoted to his own photography. It appeared the following year on the cover of the magazine section of the Saturday Evening Mail (20 April 1912), a New York weekly magazine. It was first exhibited in a show of Stieglitz's photographs at "291" in 1913.
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The Terminal (1893) by Alfred Stieglitz. The Terminal is a black and white photograph taken by Alfred Stieglitz in 1893. The photograph was taken in New York using the small 4 x 5 camera, which was a more practical instrument to document the city life than the 8 x 10 view camera, who could only work with a tripod.