Camera Work: A Photographic Quarterly (1905 (Heft 11))

EXHIBITION NOTES.
THE PHOTO-SECESSION IN EUROPE.
IN RECENT numbers we spoke of printing some reviews of the Photo-
Secession Invitation Collections which had been sent to various European
capitals. We had hoped to publish in this number extracts from these
articles, but upon mature consideration have deemed it best to omit them.
The Photo-Secession and its workers have so often been accused of over-
weaning arrogance and conceit that the eulogistic tone of all these critiques
would seem, if reprinted by us, to lend some truth to these charges, and
therefore, to save our modesty, we feel constrained to forego publishing
these reviews.
PICTORIAL PHOTOGRAPHY AT THE LEWIS AND CLARK EXPOSITION.
As we go to press, the Lewis and Clark Exposition in Portland,
Ore., opens. A great feature of this Exposition is to be its art
section which, under the management of the painter, Mr. F. V. Du
Mond, of New York, is by invitation only. A section of this exhibit
has been devoted, under the same rules, to pictorial photography. Mr. Du
Mond having appointed Messrs. Alfred Stieglitz, F. Benedict Herzog,
present president of the Camera Club, New York, Eduard J. Steichen
and Joseph T. Keiley a committee to select twenty-five photographs
worthy of exhibition. The following photographers are represented in
this collection of twenty-five: E. S. Curtis, Seattle, Wash.; W. B.
Dyer, Chicago; Frank Eugene, New York; R. Eickemeyer, Jr.,
New York; F. Benedict Herzog, New York; Mary Devens, Boston;
Alvin Langdon Coburn, New York; Radclyffe Dugmore, New York;
Gertrude Käsebier, New York; Joseph T. Keiley, New York; W. B.
Post, Freyburg, Me.; George H. Seeley, Stockbridge, Mass.; Eduard
J. Steichen, New York; Alfred Stieglitz, New York; Clarence H.
White, Newark, O.
Naturally the task of the committee was unusually difficult, as
not only did the invitation come at the eleventh hour—as inevitably
seems to be the lot of photography—but the very limited number of
twenty-five frames left no great scope. No single exhibitor was represented
by more than two pictures. We trust that this recognition by the
exhibition authorities, together with the collection sent, will be but the
beginning of a fairer and more reasonable attitude toward photography
by those in authority of future exhibitions. This treatment of pictorial
photography as the other arts comes as a relief after the fiasco at St. Louis.

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