Group Exhibitions
1929 Fotografie der Gegenwart; Museum Folkwang; Essen,
Germany, and international traveling exhibition
1929 Film und Foto: Internationale Ausstellung des Deut-
schen Werkbundes; Ausstellungshallen und Ko ̈nigbau-
lichtspiele; Stuttgart, Germany
1930 German Advertising Photographs; Camera Club; Lon-
don, England
1930 Das Lichtbild; Munchner Bund und Verein Ausstel-
lungspark; Munich, Germany, and traveling
1930 Portra ̈t—Zeichnungen—Grafik und—Foto; Kunstblatt
Reckendorfhaus; Berlin, Germany
1932 Internationale de la Photographie; Palais des Beaux-
Arts; Brussels, Belgium
1933 Deuxieme Exposition internationale de la Photographie
et du Cine ́ma; Palais des Beaux-Arts; Brussels, Belgium
1977 Film und Foto der 20er Jahre;Wu ̈rttembergischen
Kunstvereins; Stuttgart, Germany and traveling
1978 Paris–Berlin: Rapport et Contrastes France–Alle-
magne; Centre Georges Pompidou; Paris, France
1979 Fotografie in der Weimar Republik; Instituts fu ̈r Aus-
landsbeziehungen; Stuttgart, Germany
1989 Stationen der Moderne. Die bedeutendsten Kunstausstel-
lungen des 20. Jahrhunderts in Deutschland; Berlinischen
Galerie, Museum fu ̈r Moderne Kunst, Photographie und
Architektur im Martin-Gropius Bau; Berlin, Germany
Selected Works
Series:Das 100Pferdige Bu ̈ro–Keine Utopie(The 100 Horse-
powered Office – Not a Utopia), ca. 1926
‘‘Die Scho ̈nheit der Technik. Die Geburt einer neuen
Kunst,’’Uhu(Ma ̈rz 1926).
Book jacket for Walter Benjamin’sEinbahnstrasse(One-
Way Street), 1928
Reportage: Jackson-Girls auf Urlaub (Jackson-Girls on
vacation), 1928
Charlie Rivel in Chaplin-Parodie, ca. 1929
Erwin Piscator, 1927
Series:Piscator-Buhne, 1927
Bruno Walter, ca. 1933
Series:Femmes, 1933Further Reading
Behne, Adolf.Berlin in Bildern. Wien und Leipzig, 1929.
Ko ̈hn, Eckhardt.Sasha Stone, Fotografien 1925–1939,Serie
Folkwang. Berlin, 1990.
Goergen, Jeanpaul. ‘‘Dem Neuen Sehen Verpflichtet. Der
Beobachter und Reporter Sasha Stone. Ein Kapitel Ver-
gessener Fotogeschichte.’’Der Tagesspiegel(1989).
Kerbs, Diethart. ‘‘Sasha Stone: Randbermerkungen Zum
Lebensweg Und Lebensende Eines Staatenlosen Foto-
grafen.’’Fotogeschichte10, no. 37 (1990): 37–53.
Schwartz, Frederic J. ‘‘Book Space: Walter Benjamin, the
Kunstwerk-Aufsatz and the Avant-Garde.’’Kritische
Berichte28 no. 3 (2000): 21-43.
Stone, Sasha.Femmes: 20 Plances De Sasha Stone. Paris,
1933.PAUL STRAND
American
During his lifetime, Paul Strand’s work was alter-
nately praised, puzzled over, and ignored, before
finally becoming recognized as a significant contri-
bution to twentieth-century photography. From the
first, Strand signaled his respect for reality, choosing
his subjects from nature, from people, and from the
artifacts they had constructed. Along with these
predilections, his preference was for large-format
equipment, sharp lenses, and straight unmanipu-
lated, but fully realized, processing methods. He
thought of the photographer as an explorer—one
who brings back what he or she discovers of the real
world rather than as one who relies on imagination
for inspiration. At the same time, his keen attention
to the formal aspects of camera imagery gave his
realism its distinctive aesthetic character.
Strand was born in New York City on October 16,
1890 to parents of Bohemian Jewish background.
The extended family, including grandparents whose
forebears had emigrated to the United States in the
late 1840s, lived a fairly comfortable life on the
Upper West Side of the city. Strand grew to man-
hood during the Progressive Era—a crucial period of
development in both American social thought and
American photography. The presence of large num-
bers of recent immigrants living in slum conditions
inspired the Progressives to seek social change through
education and legislation. With regard to pho-
tography, the appearance of simplified equipment
and easier processing methods had transformed theSTONE, SASHA