![]() maybe two discounts with a coupon!! But occasionally – like today – making a good old fashioned book purchase! No Membership card! No discounts!!Īs I ventured on to the second landing, (don’t get me wrong, this is a relatively small – mid-size store – the landing would not fit more than two serious book browsers). I had been in this local store a number of times previously, but quietly would leave, and buy favoured books at a Big Box Store – at a discount…. You know the kind: in an old house, doors open, three different levels to get lost in, books going up the staircase, one copy of each title, owner on site, etc etc…. Today I ventured into a “real” bookstore. No one before Stieglitz had made photographs as evocative of meaning beyond their literal subjects:Ĭongratulations, Morgan, on being Freshly Pressed! It was just yesterday that I learned what that meant! I plead new to the WordPress and Blogging world – a month or so – and will eventually find my way around. He named his efforts, “equivalents,” a term which Minor White later picked up, championed, and made known to subsequent generations of photographers. Stieglitz used the medium of visible shapes to evoke states of awareness and feeling that move beyond the visible. Prior to Stieglitz, most people made and saw photographs in terms of their literal subject matter. Stieglitz was also a “hinge” on which the transition to modern photography swung. In her NPR interview, Sarah Greenough notes that Stieglitz was “amazingly egotistical and narcissistic,” but he had the ability to establish “a deep communion with people.” Later 20th century masters of the medium – Paul Strand, Edward Weston, Ansel Adams, and Minor White – all made the pilgrimage to New York to seek the “master’s blessing,” and those who won his approval never doubted themselves again. He was an early and ardent champion the idea of photography as an art. Stieglitz is not as important to contemporary artists, but his influence on early 20th century American art and especially modern photography cannot be overstated. The two maintained their relationship at a distance, struggling to grow as individuals and as a couple, until Stieglitz’s death in 1946. You cannot really think of her living anywhere else, just as you cannot think of Stieglitz outside of New York. Stieglitz had promoted her work in New York, but in New Mexico, O’Keeffe found the subjects and colors that made her famous. Greenough notes that tensions began to appear between them almost immediately, but the deciding moment in their relationship came in 1929, when O’Keeffe visited New Mexico and discovered the landscape of her soul. The two began living together soon after O’Keeffe moved to New York. These documents “track their relationship from acquaintances to admirers to lovers to man and wife to exasperated - but still together - long-marrieds.” Stieglitz and O’Keeffe were prolific correspondents, sometimes writing two or three letters a day, up to 40 pages long. ![]() Sarah Greenough discussed this correspondence recently on NPR. Georgia O'Keeffe and Alfred Stieglitz, 1944 ![]()
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