Joel Eisinger - Trace and Transformation: American Criticism of Photography in the Modernist Period

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title	:	Trace and Transformation : American Criticism of Photography in the Modernist Period
author	:	Eisinger, Joel.
publisher	:	University of New Mexico
isbn10 | asin	:	0826320414
print isbn13	:	9780826320414
ebook isbn13	:	9780585277967
language	:	English
subject	Photographic criticism--United States.
publication date	:	1999
lcc	:	TR187.E36 1999eb
ddc	:	770/.1
subject	:	Photographic criticism--United States.

Page iii Trace and Transformation American Criticism of Photography in the Modernist Period Joel Eisinger UNIVERSITY OF NEW MEXICO PRESS ALBUQUERQUE

Page iv For Barbara Copyright 1995 by the University of New Mexico Press. All rights reserved. First paperbound printing, 1999 Library of Congress Cataloging-in-Publication Data Eisinger, Joel. Trace and transformation : American criticism of photography in the modernist period / Joel Eisinger. 1st ed. p. cm. Includes bibliographical references and index. ISBN 0-8263-1623-9 (cloth) ISBN 0-8263-2041-4 (paper) 1. Photographic criticism United States. I. Title. TR187.E36 1995 770'.1 dc2094-18753 CIP Design: Mary Shapiro The author gratefully acknowledges the Carl Sandburg Family Trust for permission to reprint the prologue to The Family of Man exhibit.

Page v Contents List of Reproductions vi Acknowledgments vii Introduction 1 Chapter 1 Pictorialism 13 Chapter 2 Straight Photography 52 Chapter 3 Documentary Photography 79 Chapter 4 Popular Criticism 116 Chapter 5 Subjectivism 138 Chapter 6 An Independent Vision: Margery Mann 201 Chapter 7 Formalism 210 Conclusion: Modernism and Postmodernism 245 Notes 271 Select Bibliography 294 Index 304

Page vi List of Reproductions Edward J. Steichen, Dawn-Flowers, c. 1902. [p. 46] Alfred Stieglitz, Apples and Gable, Lake George, c. 1922. [p. 62] Edward Weston, Shells, 1927. [p. 66] William Mortensen, The Pit and the Pendulum, 1934. [p. 73] Dorothea Lange, Woman of the High Plains, Texas Panhandle, 1938. [p. 95] Walker Evans, Alabama Sharecropper's Wife, 1936. [p. 101] Installation view from the exhibit Road to Victory, 1942. [p. 106] Aaron Siskind, Chicago 10, 1948. [p. 158] Jacob A. Riis, Police Station Lodger, Eldridge Street, c. 1890. [p. 228]

Page vii Acknowledgments In its first incarnation, this book was my Ph.D. dissertation. For that stage of the project, I owe thanks to my dissertation director, Professor Sarah Burns, who let me go my own way and made a number of useful suggestions to keep me on track. I am also grateful to the faculty of the Department of Art History at Indiana University who enabled me to pursue my research with a Kress fellowship for 198687. To my father, Chester Eisinger, veteran reader of dissertations, who gave me much needed encouragement and editing help on the dissertation, I offer my warmest thanks. Mrs. Wanda Smith and Ted Smith generously shared otherwise unavailable material with me from Henry Holmes Smith's personal papers. John Szarkowski kindly took the time to respond substantively to my inquiries. My gratitude goes also to Amy Rule at the Center for Creative Photography, Becky Simmons at the George Eastman House, Virginia Dodier at the Museum of Modern Art, and Mary Panzer at the National Portrait Gallery. Without the interest of Dana Asbury, my editor, this book would have remained a dissertation. My appreciation to her for her steady encouragement and capacity to make the entire process run smoothly.

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