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Succession On Exhibition Walls: Paradoxically, before a photograph can be accepted as a document, it must itself be documented—placed in time and space. This may be effectively done by context, by including the familiar with the unfamiliar, either in one image or in paired images. A series of photographs, presented in succession on exhibition walls or on the pages of a book, may be greater than the sum of the parts.
In 1910 the Photo-Secession was invited toarranj international exhibition of pictorial photography ai Albright Art Gallery in Buffalo. Complete control d presentation was demanded and secured: Stieglitz,' the aid of his friends Paul Haviland, Clarence H. WI and the painter Max Weber, transformed the muse They covered the exhibition walls with olive and i cloth, and hung 600 photographs. Each photographer vited was represented by enough prints to enable his tistic development to be traced over the years.
And he put on the walls of "291" the first on man exhibition of his own photographs in fourteen yeai To him this was a demonstration of what photography and painting is not; and the "Armory Show" was a da onstration of what painting is and photography is not Stieglitz's exhibition included recent work done i New York: the railroad yards, the skyscrapers, the harbc with buildings rising sheer from the waterfront, fen boats, ocean liners. He was now making many portraii which formed a pictorial record of the artists and frienc who participated in the activities of "291." Thepainn Konrad Cramer has described sitting for him in 1912: |
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