Acceptance Of Photography: Everywhere progress is being made in the acceptance of photography as a valid and needful art form. The formation of a Department of Photography at The Museum of Modern Art in 1940; the founding of the International Museum of Photography at the George Eastman House in Rochester in 1949; the scheduling of major photographic exhibitions by leading art museums in Europe and America; the growing interest in photography on the part of individuals as well as institutions; the inclusion of courses in the photographic arts by universities and art schools are all steps toward the ultimate unquestioned acceptance of the potentials of the camera.
It seemed that at lo last official recognition had been won for photograp] and Stieglitz proudly announced the jury's acceptance photography in Camera Notes. But, at the last minu the hanging committee refused to show the photograp It was a bitter blow. Steichen heard the news in Ni York, where he had established a portrait studio at 2' Fifth Avenue. He renewed his friendship with Stiegl and there began a working collaboration that was to re olutionize not only pictorial photography, but the otr. arts as well.
White cultivated the acceptance of the accidental: his essay "Found Photography" is a profound description not only of his approach, but of his spiritual process.
The photograph as metaphor can be found throughout photography. In the early days of the motion picture the visual photographic metaphor was common: D. W. Griffith's Intolerance (1916), in which the theme is unfolded by four disparate sequences of images that are suddenly intermingled in a wholly realistic yet utterly nonliteral way, is an example.
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Photography
