Documentary photography has been a historically difficult medium to define. Is it art, or journalism or somewhere in between? Over time, the medium has undergone several redefinitions as photography became more accessible to the masses through technological advances, and its inclusion in museum spaces. By examining the history of photography, the elitist motivations of museums in the early twentieth century, and the curatorial practices of landmark photographic shows organized by Alfred Stieglitz of the Photo-Secessionist movement, Roy Stryker of the Farm Security Administration, and Beaumont Newhall, Edward Steichen, and John Szarkowski of the Department of Photography at MoMA, this paper explores the history of documentary photography and its curatorial evolution in museums from 1902 to 1967.
","abstract_html":"<p>Documentary photography has been a historically difficult medium to define. Is it art, or journalism or somewhere in between? Over time, the medium has undergone several redefinitions as photography became more accessible to the masses through technological advances, and its inclusion in museum spaces. By examining the history of photography, the elitist motivations of museums in the early twentieth century, and the curatorial practices of landmark photographic shows organized by Alfred Stieglitz of the Photo-Secessionist movement, Roy Stryker of the Farm Security Administration, and Beaumont Newhall, Edward Steichen, and John Szarkowski of the Department of Photography at MoMA, this paper explores the history of documentary photography and its curatorial evolution in museums from 1902 to 1967.</p>","abstract_has_math":false,"creators":["Hegebarth, Katie"],"institution":null,"degree_name":"Master of Art in Art and Design (MAAD)","degree_level":"Thesis","degree_discipline":null,"degree_department":null,"school":null,"contributors":["Joe Thomas","Matt Haffner","Lili Corbus"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2022,"date_issued":"2022-07-15T07:00:00Z","date_published":"2022-07-15T07:00:00Z","updated_at":"2026-07-24T02:43:58Z","subjects":["Documentary Photography","Photography","FSA","MoMA","Curatorial Practices","Museum Practices","Art and Design"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://digitalcommons.kennesaw.edu/art_etd/2","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Joe Thomas","Matt Haffner","Lili Corbus"]},{"key":"dc:creator","label":"Author","values":["Hegebarth, Katie"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2022-11-16T08:00:00Z"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Art in Art and Design (MAAD)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Documentary Photography","Photography","FSA","MoMA","Curatorial Practices","Museum Practices","Art and Design"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://digitalcommons.kennesaw.edu/art_etd/2"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Documentary photography has been a historically difficult medium to define. Is it art, or journalism or somewhere in between? Over time, the medium has undergone several redefinitions as photography became more accessible to the masses through technological advances, and its inclusion in museum spaces. By examining the history of photography, the elitist motivations of museums in the early twentieth century, and the curatorial practices of landmark photographic shows organized by Alfred Stieglitz of the Photo-Secessionist movement, Roy Stryker of the Farm Security Administration, and Beaumont Newhall, Edward Steichen, and John Szarkowski of the Department of Photography at MoMA, this paper explores the history of documentary photography and its curatorial evolution in museums from 1902 to 1967.
"]},{"key":"dc:title","label":"Title","values":["DOCUMENTARY PHOTOGRAPHY AND CURATORIAL PRACTICE IN THE UNITED STATES, 1902-1967"]}]}],"canonical_facts":{"dc:contributor":["Joe Thomas","Matt Haffner","Lili Corbus"],"dc:creator":["Hegebarth, Katie"],"dc:date.available":["2022-11-16T08:00:00Z"],"dc:description.abstract":["Documentary photography has been a historically difficult medium to define. Is it art, or journalism or somewhere in between? Over time, the medium has undergone several redefinitions as photography became more accessible to the masses through technological advances, and its inclusion in museum spaces. By examining the history of photography, the elitist motivations of museums in the early twentieth century, and the curatorial practices of landmark photographic shows organized by Alfred Stieglitz of the Photo-Secessionist movement, Roy Stryker of the Farm Security Administration, and Beaumont Newhall, Edward Steichen, and John Szarkowski of the Department of Photography at MoMA, this paper explores the history of documentary photography and its curatorial evolution in museums from 1902 to 1967.
"],"dc:identifier":["https://digitalcommons.kennesaw.edu/art_etd/2"],"dc:subject":["Documentary Photography","Photography","FSA","MoMA","Curatorial Practices","Museum Practices","Art and Design"],"dc:title":["DOCUMENTARY PHOTOGRAPHY AND CURATORIAL PRACTICE IN THE UNITED STATES, 1902-1967"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Art in Art and Design (MAAD)"]},"updated_at":"2026-07-24T02:43:58Z"}