Alfred Stieglitz’s photograph The Guidance (1907) was an early work of creative modernism, and considered by many historians to be crucial photograph ever made. His photographs have been widely exhibited, and are within the collections of the Museum of Modern Artwork; the Brooklyn Museum of Artwork; The New York Public Library; the San Francisco Museum of Trendy Art; the New Orleans Museum of Artwork; and the Artwork Institute of Chicago, among others.
The pictures, acquired by Harvard in 1969, show the merging, clashing traits of both Stieglitz’s craft and of that period’s pictures: echoes of an impressionist, superb-artwork nineteenth century, and a gritty, real looking, socially conscious twentieth century.
A foremost authority on Evans, he has organized six exhibitions of the artist’s work, together with Walker Evans, a significant retrospective on the Met in 2000, and Walker Evans and the Picture Postcard in 2009, and has authored eight publications on Evans’s oeuvre.
This was precisely the working technique that existed between Elissa Curtis and different picture editors on the New Yorker, Joseph Michael Lopez, my assistant on the job ( an excellent photographer in his own proper) and my studio and organizing assistants, Emma Horning and Mary Rhodomoyer.
Artists Gregory Crewdson, Director, Graduate Research in Photography, Yale College; Ashley Hunt, Co-Director, Program in Photography and Media College, CalArts; Stephen Shore, Director, Images Program, Bard College; and James Welling, Chair, Images Department, College of California, Los Angeles, lead a discussion concerning the mission, imaginative and prescient, and philosophy of their respective pictures packages.