In MoMA’s first exhibition composed entirely of home movies, visitors are placed into the perspective of these amateur filmmakers, ever so often stumbling upon a choice moment of intimacy.
An exhibition at London’s V&A captures the dance in life’s stillness and the stillness in life’s dance.
In 1936, the Museum of Modern Art showcased a project by the famed photographer Edward Steichen that featured work not in his expected medium, but Delphiniums he had bred himself at Umpawaug, a farm he owned in Connecticut.
Edward Steichen was the first modern fashion photographer, best known for shadowy portraits of silver-screen stars like Gloria Swanson, Marlene Dietrich, and Louise Brooks. That the dark room master spent two years during World War I developing photographic surveillance techniques is less common knowledge.
The artistic avant garde is often a pretty insular group — when you’re doing something new, odds are that few people besides your immediate friends and collaborators know what’s up. A jewel box of an exhibition at the Boston Museum of Fine Arts proves just how small the art world is with Modernist Photography 1910-1950, a show that’s just as much about the aesthetic (and physical) interrelationships between artists as it is about the advent of modernist photography in the United States.
For the first time in more than 25 years, the Metropolitan Museum of Art will display five of its original Autochromes by Edward Steichen and Alfred Stieglitz for one week only — January 25-30, 2011 — as part of the exhibition Stieglitz, Steichen, Strand.