Word: steichen
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Evans took to photography as something that he could make respectable. Scorning both the "artistic" and "commercial" examples of Stieglitz and Steichen. Evans forged a new photographic tradition based on typical scenes shot from eye level, usually from a middle distance, and in bright daylight. "Most photographers were very uneasy in my youth and they all were uncomfortable about whether what they were doing was art or not. I never was bothered about that, luckily--mencumbered by that nonsense." Evans always had a firm conviction in "straight" photography. His is "cool, precise as a police report, emotionally aloof," according...
...twenty years since Edward Steichen's famous exhibition of The Family of Man marked the nadir of a naive photojournalism: the show's enormous worldwide success in the 1950s was just as much a tribute to the acceptability and comprehensibility of photography as a journalistic medium which Life, etc. had build up as it was a tribute to the quality of the pictures. That sort of photojournalism is no longer vital: When The Family of Man approach to photography burnt itself out when it (visually, if not politically) realized its own propnecy. The mass medias's quest for speed...
...their co-workers from the Whitney's show is emblematic of Doty's failure to comprehend this, but his miscomprehension of what makes for good photography also shows up in his failure to hang the best photographs by several of the "classic" photographers. Doty's treatment of Edward Steichen and Alfred Steiglitz, both closely associated with the "pictorialist" school, is good, but the pictures by Weston and Evans which he selected distort their work. Both men represent the birth of modern photography, but by trying to cast them as "hard focus pictorialists" he takes all the edge out of their...
American museums, especially, have been interested in the "more imaginative" masters of the medium, beginning with Edward Steichen, proceeding through the epic or intimist nature poets (Edward Weston, Paul Strand, Ansel Adams) and finishing in an exponential growth of different styles in the '70s -Duane Michals' enigmatic fumetti, Paul Caponigro's monumental landscapes, and Jerry Uelsmann's surrealist montages. Meanwhile, LIFE and Look were the showcases for the documentary photographs: the picture magazines were their museum without walls, and it is now pitifully shrunk. To present the documentary photographer to a "serious" audience, an audacious venture...
...regular hausfrau, but I still need more exercise." Gloria plans to buy a treadmill. To display what her way of life has done for her in 50 years, Gloria obligingly posed for a photographer in exactly the same way she did in 1925 for a classic Steichen portrait and offered a final, somewhat enigmatic beauty tip: "My life," she beamed, "is always a great surprise...