![]() ![]() Yet despite her successful career and her significant contributions to the development of photography and craft, Austin’s work has been overlooked by scholars. Austin was also referenced in at least twenty-one different photographic journals and twenty-five newspaper articles and popular publications during her lifetime. Austin’s work was shown in at least thirteen exhibitions, including famed-photographer Frances Benjamin Johnston’s show on women artists at the 1900 Parisian Exposition Universelle. Austin continued to argue for the intersection of craft and photography as a founding member of the Photography Guild at the Boston Society of Arts and Crafts after Pictorialist photography became outmoded with the rise of straight photography. Alfred Stieglitz : Camera work, the complete illustrations, 1903-1917 Publication date 1997 Topics Stieglitz, Alfred, 1864-1946, Camera work (New York, N.Y. The implication of this flexibility was profound for women such as Austin who were able to become professional photographers by aligning their artistic production with the larger handicraft tradition, thus placing photography within the domain of women’s work. In her capacity as artist and committee member, Austin emphasized craftsmanship-a concept that embodied both the handicraft tradition, in which it was permissible for women to take part, and Pictorialist fine art photography. ![]() In 1905, he founded his first gallery, Gallery 291, as a place for Photo-Secession to present their work and the work of other international photographers. This article considers how Austin’s professional persona reflects the larger intersection of craft, gender, and photography in Boston during the first quarter of the twentieth century. The Alfred Stieglitz Collection Camera Notes Journals > Camera Notes Camera Notes Published 18971903, Edited by Stieglitz 18971902 In 1896, when New York’s two leading amateur camera clubs merged to create the Camera Club of New York, Alfred Stieglitz saw the chance to improve the American discourse on artistic photography. In 1903, Stieglitz and a few like-minded photographers broke off from the Camera Club formed Photo-Secession, a photography club that advocated for the photographic medium. Soon after opening the gallery, Stieglitz began exhibiting works from both European and American artists and 291 became an intellectual focal point of Modernism with Stieglitz at its theoretical, philosophical and emotional core with Camera Work serving as the primary medium by which these views were more widely disseminated. She joined Alfred Stieglitz’s Photo-Secessionists group in 1905 and worked as a committee member at the Boston Society of Arts and Crafts for approximately thirty years. Alice Austin (1862–1933) worked as a professional photographer in Boston from 1900 until 1933. ![]()
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