In “Stieglitz, Steichen, Strand,” the Metropolitan Museum of Art pulls from its own collection to present the work of three heavyweights of American photography: Alfred Stieglitz, founder of the influential 291 gallery, and two of his protégés, Edward Steichen and Paul Strand. The show, on through April 10, 2011, gives each photographer his own room, accentuating their individual styles and obsessions, while allowing a closer look at the cross-pollination that took place in the early part of the 20th century.
In 1939, famed war photographer Robert Capa left a suitcase of film negatives in the care of his darkroom manager, Csiki Weiss. Capa, who fled Paris for New York in advance of the German invasion, would never again see the suitcase, which held dozens of rolls of undeveloped film that he and his colleagues, Gerda Taro and David Seymour, shot during the Spanish Civil War. Indeed, the cache stayed hidden for decades and was thought lost to the world. It wasn’t until 2007 that the so-called Mexican Suitcase arrived at the International Center of Photography, the New York museum founded by Capa’s brother, Cornell Capa.
The conceit behind “Blow Up,” the latest group show at The Society of Illustrators, is somewhat overblown, if you will. The show, billed as “an open window onto the visual melting pot of contemporary image making,” presents work by Tomer Hanuka, Yuko Shimizu and Sam Weber, three artists with different backgrounds who meet “at the crossroads of a distinct American esthetic.”