Georgia O’Keeffe by Alfred Stieglitz, 1918

Georgia O’Keeffe by Alfred Stieglitz, 1918

There is much life in me — when it was always checked in moving toward you — I realized it would die if it could not move toward something … I chose coming away because here at least I feel good — and it makes me feel I am growing very tall and straight inside — and very still — Maybe you will not love me for it — but for me it seems to be the best thing I can do for you — I hope this letter carries no hurt to you — It is the last thing I want to do in the world.——-July 9, 1929, “My Faraway One: Selected Letters of Georgia O’Keeffe and Alfred Steiglitz: 1915-1933” Edited by Sarah Greenough

Black Iris, Georgia O’Keeffe, 1926 (Alfred Stieglitz Collection, 1969)

Georgia O’Keeffe by Alfred Stieglitz, 1918

Woman Ironing, Pablo Picasso, 1901 (Alfred Stieglitz Collection, 1949)

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Georgia O’Keeffe by Alfred Stieglitz, 1918

Georgia O’Keeffe by Alfred Stieglitz, 1918

Georgia O’Keeffe by Alfred Stieglitz, 1918

Rebecca Strand by Alfred Stieglitz, 1918

Combing the vast Majority of The Met’s current exhibition, Steiglitz and His Artists: Matisse to O’Keeffe, was horrendously frustrating. The works were presented in coldness, adding a heartless tone to the exhibit. It was contained, and without truth. But by all means, there was no finality to it. It was not without catharsis. Afterall, The arch-nemesis of the collector is the artist who provides and the artist who is wanton enough to be captured and exposed. So, the story continues. Picasso’s “Woman Ironing” rises above and beyond the hands of Steiglitz. Kandisky’s Improvisation 27 (Garden of Love II) is not enough to be wanton. The collected works seem above and beyond reach of Steiglitz’s hazy pictorialist life. - 

Posted by Ana Lola Roman for The PhotoSynth Project