Abstract and Keywords
This article examines the relation between modernism and photography. It suggests that the last two issues of Alfred Stieglitz's Camera Work stand out as some of the most emphatic and self-conscious of all the symbolic beginnings of photography's engagement with modernity. These issues, which were released in 1917, featured the works of American photographer Paul Strand. The article contends that the new photography can be defined as a reproduction of technological modernity in an objectively produced beautiful image demonstrating the photographer's skill in selecting the image, using the camera, and developing the negative, without recourse to special effects or manipulations.
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