Paul Strand: The Life And Work Of The Artist

11 Pages 2783 Words

k in the family enamelware importing business, enabling him to pursue his own course in photography. (Rosenblaum 33)
The young photographer practiced at the Camera Club of New York. It was a collection of wealthy amateurs who Strand joined with the help of an uncle who was a high-ranking member. His uncle also helped him with some of the fees incurred by his work and membership. Ever diligent in the pursuit of his craft, Strand quickly adopted the private, personal darkrooms at the Club as a second home. He gained technical skills and became proficient in the methods and techniques approved and practiced by the Club. He served on the print committee and was also starting to gain recognition for his own work. (Rosenblaum 34)
The artist had not been breaking any new ground despite his accolades earned from the Club. His relationship with the institution was beginning to deteriorate, and in 1913 he turned almost fully away from it. Strand had paid a visit to the Armory show, where he came face-to-face with what was going on in the world of modern photography.(Brown 18)
By 1915, the artist had moved on to his own, experimental work. He was gaining more recognition and acclaim from fellow artists. Alfred Stieglitz, from the 291 gallery that young Strand frequented, recognized his talent and that his work was stretching the boundaries of photography. He had begun taking pictures through more unconventional means, taking candid portraits and experimenting with new techniques and processes. (Masters p.5)
Further straining Strand’s relationship with the Camera Club was an incident in 1920 involving a processed negative of a male nude. It was left, as the board of trustees explained, “for all or part of two days in full view of any person, male or female, member of the club, guest, or visitor.” Strand was brought before the board and suspended. This narrow-minded decision enraged the artist with his modern humanist lea...