While experienced almost as an aside in the show, a handful of photographs are included, asserting themselves among the paintings, as they would have in Stieglitz’s showroom. His 291 was originally intended to promote the status of photography as an art form, exhibiting photographers with modern artists to dissolve any barrier between them.
Here, an Edward Weston print magnifies the textures of bark and burl of a cypress root, creating a painterly effect, while a Paul Strand photo crops an image of an automobile so that the spokes in the wheel and headlight serve as forms in an abstract composition, void of representational meaning.
Annie Larmon can be reached at email@example.com.
“METHODS FOR MODERNISM: FORM AND COLOR IN AMERICAN ART, 1900 TO 1925” through July 3 | at Bowdoin College Museum of Art, Brunswick | 207.725.3275
: Museum And Gallery
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