Alfred Stieglitz tried to CHANGE the point of view of American photographers. Taking pictures of poor horses pulling charriots through the deep Manhattan snow. Noticing the poor people on a cruise ship to Europe. He liked provocation too: Some of his exhibitions got some trouble, because he presented nudes. Stieglitz HAS changed the goals of photography world wide, not only in America.
I’ve written some book reviews for amazon, where I introduced a Stieglitz-quotation, he once said: “When I look back to those early days when the Flat Iron Building was such a passion of mine, I think of my father, who said to me, ALFRED HOW CAN YOU PHOTOGRAPH THAT HIDEOUS BUILDING? – Why Pa, I answered, it is not hideous. That’s the new America. That building is to America, what the PARTHENON was to Greece. MY FATHER WAS HORRIFIED.“
photo above, featuring the Flat Iron Building, Manhattan: by frizztext; my comment: if the PARTHENON was / is part of an old ICONOGRAPHY – what should be the elements of a MODERN ICONOGRAPHY? The Flat Iron Building? Or in the meantime the destroyed WTC-TWINS? Or, more than any architecture, the portraits of modern human beings? If you are not sure, what I mean, maybe you like to visit my photo group MODERN ICONOGRAPHY at http://www.flickr.com/groups/modern_iconography/
more than one hour video at youtube featuring:
Alfred Stieglitz: The Eloquent Eye (1999)