"Only examples of such work as gives evidence of individuality and artistic worth, regardless of school, or contains some exceptional feature of technical merit, or such as exemplifies some treatment worthy of consideration, will find recognition in these pages." Alfred Stieglitz 1903Camera Work was a quarterly photographic publication by Alfred Stieglitz and the Photo-Secessionists from 1902 to 1917 that was known for its high-quality reproductions and its effort to establish photography as a fine art.
In 1893 Alfred Stieglitz was editor of American Amateur Photographer but his brusque, autocratic editorial style alienated many subscribers. After being forced to resign in 1896, Stieglitz turned to the New York Camera Club and retooled its newsletter into a serious art periodical known as Camera Notes.[1] He announced that every published image would be a picture, not a photograph. In 1902 Stieglitz formed an invitation-only group, which he called the Photo-Secession, to force the art world to recognize photography "as a distinctive medium of individual expression." Among its members were Edward Steichen, Gertrude Kasebier, Clarence White and Alvin Langdon Coburn. Photo-Secession held its own exhibitions. At this juncture, Stieglitz quit as editor of Camera Notes and became the publisher of a new journal, Camera Work, which was to serve as a vehicle for the Photo-Secession. In addition to photography, Camera Work also reproduced works of modern art, such as Rodin and Matisse before these works were well known. A collection of Camera Work was appraised in Philadelphia on a 2007 episode of Antiques Roadshow with an estimate worth of $60,000 to $90,000.
In 1893 Alfred Stieglitz was editor of American Amateur Photographer but his brusque, autocratic editorial style alienated many subscribers. After being forced to resign in 1896, Stieglitz turned to the New York Camera Club and retooled its newsletter into a serious art periodical known as Camera Notes.[1] He announced that every published image would be a picture, not a photograph. In 1902 Stieglitz formed an invitation-only group, which he called the Photo-Secession, to force the art world to recognize photography "as a distinctive medium of individual expression." Among its members were Edward Steichen, Gertrude Kasebier, Clarence White and Alvin Langdon Coburn. Photo-Secession held its own exhibitions. At this juncture, Stieglitz quit as editor of Camera Notes and became the publisher of a new journal, Camera Work, which was to serve as a vehicle for the Photo-Secession. In addition to photography, Camera Work also reproduced works of modern art, such as Rodin and Matisse before these works were well known. A collection of Camera Work was appraised in Philadelphia on a 2007 episode of Antiques Roadshow with an estimate worth of $60,000 to $90,000.
A. STIEGLITZ
Alfred Stieglitz (January 1, 1864 – July 13, 1946) was an American-born photographer who was instrumental over his fifty-year career in making photography an acceptable art form alongside painting and sculpture. Many of his photographs are known for appearing like those other art forms, and he is also known for his marriage to painter Georgia O'Keeffe, most famous for her large-scale paintings of flowers. From 1893 to 1896, Stieglitz was editor of American Amateur Photographer magazine; however, his editorial style proved to be brusque, autocratic and alienating to many subscribers. After being forced to resign, Stiegl
itz turned to the New York Camera Club (which was later renamed The Camera Club of New York and is in existence to this day) and retooled its newsletter into a serious art periodical known as Camera Notes. He announced that every published image would be a picture, not a photograph - a statement that allowed Stieglitz to determine which was which.
Stieglitz's The Steerage
Big camera clubs that were the vogue in America at the time did not satisfy him; in 1902 he organized an invitation-only group, which he dubbed the Photo-Secession, to force the art world to recognize photography "as a distinctive medium of individual expression."
itz turned to the New York Camera Club (which was later renamed The Camera Club of New York and is in existence to this day) and retooled its newsletter into a serious art periodical known as Camera Notes. He announced that every published image would be a picture, not a photograph - a statement that allowed Stieglitz to determine which was which.
Stieglitz's The Steerage
Big camera clubs that were the vogue in America at the time did not satisfy him; in 1902 he organized an invitation-only group, which he dubbed the Photo-Secession, to force the art world to recognize photography "as a distinctive medium of individual expression."
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