• Camera angles
Photographs at exhibit reflect
‘Turn-of-the-Century America’
By IRVING DESFOR
AP Newsfeatures
A representative selection of
photographs is included in a
significant exhibition of picto
rial art which typifies: “Tum
of-the-Century America: 1890-
1910,” currently on view at the
Whitney Museum of American
Art in New York City until Oc
tober 2.
The exhibition, conceived
some four years ago by Patri
cia Hills, Associate Professor of
Art History at York College,
City University of New York,
has now come to fruition under
her research, organizing and
direction. It was made possible
by a grant from J.C. Penney as
part of the company’s celebra
tion of its 75th anniversary.
Following its stay at the Whit
ney Museum, the exhibition will
tour the country with stops
scheduled at the St. Louis,
Seattle and Oakland Art Mu
seums through the end of May,
1978.
The United States at the turn
of the century was in an ex
citing era of expansion as its
economy exploded in unprece
dented growth along with its
immigration and foreign trade.
There was a boom, too, in so
cial reforms and for increased
recognition of women’s rights
and labor.
The changes in America were
inevitably reflected in its fine
arts, in paintings, graphics and
photographs, as artists ex-
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TURN-OF-THE-CENTURY portrait of actress
Evelyn Nesbit in 1903 was made by a leading
photographer of the era, Gertrude Kasebier. It is
from the “Turn-of-the-Century America”
Exhibition at the Whitney Museum, the original
loaned by Rochester’s International Museum of
Photography.
perirnented with new subject
matter in the spirit of the
times. The Turn-of-the-Century
exhibition displays 280 exam
ples of artistic expression in a
variety of techniques of which
about 100 are photographs.
In 1890, Alfred Stieglitz re
turned to America from Eu
rope, determined to promote
standards of excellence in pho
tography. He had a decided im
pact, aided by colleagues who
were influenced by his ideas.
Among them were Gertrude
Kasebier, Clarence H. White,
Alvin Coburn and Edward Stei
chen.
As editor of “Camera Notes”
and “Camera Work,” Stieglitz
began to advocate straight pho
tography and to reject the ma
nipulated type of pictorial pho
tography which imitated the ef
fects of painting and etching. It
led first to an exhibition and in
1905 to the Photo-Secession Gal-
lery at 291 Fifth Avenue. The
gallery, known as “291,” began
to display other art media
along with photography to show
their interrelated development.
It became the heart and center
of modern art in America.
By the turn of the century,
George Eastman had invented
the Kodak Camera which, with
other developments, produced
photography for the masses.
Commercial portrait studios
sprang up in every major city
but a core of art-conscious pho
tographers began ex
perimenting with light tech
niques and processes like plati
num printing to produce more
expressive portraits. Their
challenge was to produce a lik
eness which was also artistic.
Their success led a noted art
critic to proclaim in 1901: “To
day, portraits by our best pho
tographers attain a higher av
erage of all-round excellence
than those by the best paint
ers.”
That period is also noted for
the powerful documentary pho
tography of Jacob Riis and
Lewis Hine, social idealists
with cameras. Riis was a news
paper reporter who turned to
photography to document with
accuracy the books and stories
he was writing on the wretched
living conditions of the poor.
Hine, a teacher and sociologist,
was a compassionate partisan
for humanity and reform. He
photographed immigrants, chil
dren, miners and the exploited
in deplorable, unsanitary and
unsafe working conditions.
Their cameras were formidable
weapons for social progress,
leading to legislation which es
tablished child labor laws and
better working conditions.
A human sidelight of the
Turn-of-the-Century exhibition
turned up in that its press par
ty coincided with the 91st birth
day of James Van Der Zee, the
black photographer who docu
mented Harlem in that period
and is the only survivor among
the contributing photographers.
He was able to be present to
celebrate the opening and enjoy
the birthday cake provided by
Penney’s.
Miss Hills gathered the 280
items on display from the per
manent collections of the Whit
ney Museum and other gal
leries and museums; from the
Library of Congress and other
historical societies and librar
ies; and from private collec
tions throughout the country.
Many of the photographs are
the original prints preserved
through the years but some are
modem prints made from origi
nal negatives especially for this
exhibition.
It was intersting to learn that
one well-known source for tum
of-the-century photographs re
fused to permit any of their
original prints to be displayed
in the Whitney Museum. An of
ficial of Brown Bros, explained
that their policy permitted orig
inal prints to be sent only to
reputable publishers with a fee
to be paid for reproduction
rights only.
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One of Hollywood’s leading stuntwoman Kitty O’Neil crashes into a parked car with her van
which explodes, upper photo, engulfing the van with flames. Miss O’Neil exits the van
afire, lower photo, demonstration how stunts are performed for movies and television
during filming for a 90-minute special on stunts called “Superstunt." Actor Lee Marvin will
make a rare TV appearance when he hosts the show set to air this fall. (AP Photos by
McLendon)
Page 23
Griffin Daily News Thursday, August2s, 1977
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