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A curious circumstance has arisen in art history: the fight for photography as a fine art is congruent with the demise of conventional art forms. This irony was part of the dialogue of modernism at the turn of the century. Its historical coincidence is marked by such images as Stieglitz's Steerage appearing the same year as Picasso's Les Demoiselles D'Avignon (1907), a synchronicity compounded by the fact that Picasso admired the Steerage when it was made, suggesting it was photographic Cubism.' In a sense, this apparent similarity was inevitable since Cubism introduced the fourth dimension of time into painting, a characteristic inherent to photography. Thus, though photography was at this time still trying to establish its credentials as one of the traditional arts, because of its very nature, it mirrored the changes these arts were undergoing. This was achieved despite the fact that photographic lenses reflected the visual world of Renaissance perspective, while Cubism reflected the mathematics of non-Euclidean geometry and the theory of relativity. In a sense, photography took over the traditions of painting, while painting and sculpture branched into such arenas as mixed media. Logically, then, but for its late arrival on the scene, photography should never have been separated out from prior art forms, nor they from it. But that having happened, it is worth examining the differences that separate thinking in the history of photography from thinking in the field of art history as a whole. One of the first differences is that images important in the history of photography are not necessarily recognized as important to art history as a whole. In this regard, the history of photography diverges from, let us say, the history of painting whose important works form the nucleus for arthistorical surveys of Euro-American art. This separation is not only reflected by artists who are appreciated only in photography. It is more complex than that. It also consists of artists who are appreciated differently by
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