New Vision


Sorry!! The Judy Baca talk was canceled :0(
Edward Steichen, Alfred Stieglitz, 1907.











Les Demoiselles D'Avignon

Pablo Picasso, Les Demoiselles D'Avignon, 1907.











Type of Women
Les Demoiselles D'Avignon
Edmond Fortier, Types of Women, West Africa, 1906.
Pablo Picasso, Les Demoiselles D'Avignon, 1907.











Alfred Stieglitz, The Steerage, 1907.



"I saw shapes related to one another - a picture of shapes, and underlying it, a new vision that held me."
- Alfred Stieglitz

"This photographer is working in the same spirit as I am." - Pablo Picasso upon seeing The Steerage










Straight Photography = approach that attempts to depict a scene as realistically and objectively as permitted by the medium. Condemned the use of both pre-exposure (e.g., filters, lens coatings, soft focus) and post-exposure (e.g., unusual developing and printing methods) manipulation
Winter on Fifth Avenue
The Steerage
Alfred Stieglitz, Winter on Fifth Avenue, 1892.
Alfred Stieglitz, The Steerage, 1907.


Straight Photography
Main subject in focus, everything else fuzzy
Entire photo in sharp focus
Encouraged hand altering of image
No manipulation
Almost monochromatic gray
Deep contrast and full range of tones
Sentimental, nostalgic and fantastic
Composition and form
Printed on art papers
Printed on glossy, waxed paper
Overall goal
To make photos look like paintings
To make photos look like photos











The 291
(a.k.a. The Little Galleries of the Photo Seccesion)
1905 - 1917
1910 Stieglitz organized the last show of Pictorialist work for the Albright-Knox Gallery in Buffalo, New York
Clarence H. White, Ring Toss, 1903.











Paul Strand, Abstraction, Twin Lakes, Connecticut, 1916.











Abstraciton with oranges

Paul Strand, Bowls, Twin Lakes, Connecticut, 1916.











Paul Strand, Rebecca, New York, 1921.









"The work was brutally direct, pure and devoid of trickery."
- Stieglitz on Strand's straight approach

Paul Strand, New York (from Camera Work, June 1917), Platinum print.























Bird in Space

Avant-garde = artists or works that are novel or experimental
  • relates to military term for soldiers who explore the battlefield ahead of advancing army
  • suggests small group of intellectuals who push the boundaries of what is accepted as the norm
Constantin Brancusi, Bird in Space, 1928?











Armory Show Main Hall, New York, NY, 1913










The Armory Show 1913
First large-scale exhibition of radical modern European art

Nude Descending a Staircase, No. 2

Responses to the Armory Show and Duchamp's Nude:

  • President Theodore Roosevelt exclaimed, "That's not art!"
  • New York Times critic said Duchamp's painting resembled
    "an explosion in a shingle factory."
  • American Art News offered a prize to anyone
    who could find the nude

Marcel Duchamp, Nude Descending A Staircase, No. 2. 1912.










Nude Descending a Staircase, No. 2
Chronophotography demonstration
Marcel Duchamp, Nude Descending A Staircase, No. 2. 1912.
Etienne-Jules Marey, Man in Black Suit with White Stripes Down Arms and Legs, Walking in Front of a Black Wall, c. 1884.













Marcel Duchamp, Fountain, 1917.











Alfred Stieglitz, Duchamp's Fountain photographed in the 291 Gallery











Marcel Duchamp, L.H.O.O.Q., 1919.











Woman on the Telephone

"Photography's long-acknowledged power to mirror the face of the world was by no means abandoned, but in the 1920s and '30s a host of unconventional forms and techniques suddenly flourished. Abstract photograms, photomontages composed of fragmented images, the combination of photographs with modern typography and graphic design in posters and magazine pages - all were facets of what artist and theorist László Moholy-Nagy enthusiastically described as a "new vision" rooted in the technological culture of the twentieth century." - Metropolitan Museum
Aleksander Rodchenko, Woman at the Telephone, 1928.











The Lathe
Paul Strand, The Lathe, 1923.

Laszlo Moholy-Nagy, Photogram, 1926.












Alvin Coburn, The Octopus, 1912.










"The full potential power of every medium is dependent upon the purity of its use...This means a real respect for the thing in front of him... The fullest realization of this accomplished without tricks of process or manipulation, through the use of straight photographic methods."
- Paul Strand

Paul Strand, Manhatta, 1921.
Paul Strand, Wall Street, 1916.











Aleksander Rodchenko, Portrait of My Mother Reading, 1924.
Aleksander Rodchenko, Portrait of My Mother, shot in 1924, printed in 1950.











Georgia O'Keefe
Georgia O'Keefe
Alfred Stieglitz, Georgia O'Keefe, 1918.
Alfred Stieglitz, Georgia O'Keefe, 1918.











Formalism = the concept that a work's artistic value is entirely determined by its form--the way it is made, its purely visual aspects and its medium. Formalism emphasizes compositional elements such as color, line, shape and texture rather than realism, context and content
Alfred Stieglitz, Hands, 1918.











Edward Steichen, Gloria Swanson, 1924.
Edward Steichen, Evening Shoes by Vida Moore, 1927.











Aleksander Rodchenko, Untitled (Walking Figure), 1928.


"One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again." - Rodchenko












Alexander Rodchenko, Chauffeur, 1933.










Laszlo Maholy-Nagy, Chairs at Margate, 1935.












New Vision photographers practiced
"photographic photography"
New Vision elements:
Geometric compositions that approach abstraction
Use of the close-up and oblique points of view
Play with reflective surfaces to alter perception
Manipulation of light
Albert Renger-Patzsch, Echeoeria, 1922.











Florence Henri, Composition, 1932.











Clarence John Laughlin, The Fierce Eyed Building, 1939.
Ilsa Bing, Self-Portrait with Mirrors, 1928.











Revolutionary spirit of modern photography expressed in the 1929 Film Und Foto exhibition

Photographs declared the greatest of contemporary technological wonders because of its capacity to "be one of the most effective weapons against the mechanization of the spirit."
Some of the artists included:
Berencice Abbott
Herbert Bayer
Imogen Cunningham
John Heartfield
Florence Henri
Laszlo Moholy-Nagy
Paul Outerbridge
Man Ray
Albert Renger-Patzsch
Aleksander Rodchenko
Charles Sheeler
Edward Steichen
Edward Weston
Film und Foto International Exhibition poster. 1929.