While Alfred Stieglitz was an internationally acclaimed artist, his influence reached well beyond the camera. He promoted pictorial photography and modern art during his time as editor of Camera Notes and Camera Work. He organized numerous pioneering exhibitions in the Little Galleries of the Photo-Secession (later known as 291) from 1905 to 1917, The Anderson Galleries (1923 – 1925), The Intimate Gallery (1925 – 1929) and An American Place (1929 – 1946). Stieglitz worked to promote and elevate modern artists like Georgia O’Keeffe, John Marin, and Paul Strand. His direct, and indirect, influence on art history and modernism is far-reaching and unquantifiable.
Modern Art and America: Alfred Stieglitz and his New York galleries by 
Camera clubs began forming in the late 19th century and attracted amateur and professional photographers. These clubs served as a social setting for photography enthusiasts and as way to promote and share the latest advancements in photography. Stieglitz believed in the usefulness of these photographic societies but thought the most important function of the camera club was to sponsor exhibitions to promote photographs of artistic value.
Alfred Stieglitz joined the Society of Amateur Photographers of New York (SAP) in 1891. In 1897, under Stieglitz’s guidance, SAP began hosting joint exhibitions with the Photographic Society of Philadelphia and the Boston Camera Club. Stieglitz was also involved with the club's restructuring and renaming to the Camera Club of New York. The publication Camera Notes served to further the agenda of the Camera Club of NY. Among the many notable group members were Gertrude Kasebier, Frank Eugene, Clarence H. White, Paul Strand, Charles Sheeler, Ansel Adams, Margaret Bourke-White, Phillippe Halsman, and Beaumont Newhall.
The Photo-Secessionists were a group of American photographers organized around the common interests of elevating photography’s place in the art world and regular exhibition of work. The group was organized in 1902 and led by Alfred Stieglitz who also opened the group’s main exhibition space: the Little Galleries of the Photo-Secession (later know as 291) with fellow Photo-Secessionist Edward J. Steichen in 1905. The publication Camera Work served to further the agenda of the Photo-Secessionists. Among the many notable group members were Gertrude Käsebier, Joseph T. Keiley, Edward J. Steichen, Frank Eugene and Edmund Stirling.
Camera magazines and journals were an important platform for sharing and discussing new photographic discoveries, processes, exhibitions, and as a forum for exchanging ideas. Stieglitz was involved with influential camera magazines, including The American Amateur Photographer, Camera Notes and Camera Work.
Under Stieglitz’s editorial stewardship, the newly formed Camera Club of New York published the journal Camera Notes between 1897 and 1903. The publication was committed to high-quality photogravures, and keeping its members connected to the evolution of photography. This publication marks the beginning of photography's acceptance as fine art.
Camera Work was an independent photographic quarterly edited and published by Stieglitz with high-quality photogravures that were tipped in by hand. This publication was also a forum for art criticism, exhibition review, and promoted the work of the Photo-Secessionists. The intellectual appeal of Camera work was enhanced by the inclusion of articles by writers like Gertrude Stein and Bernard Shaw.
Stieglitz operated influential galleries and organized numerous pioneering exhibitions. His galleries supported and promoted the work of modern artists.
Stieglitz and photographer Edward Steichen founded the Little Galleries of the Photo-Secession at 291 Fifth Avenue in 1905, later known as “291.” Established as a space to experience the latest developments in photography, it also became a showcase of European avant-garde art prior to the 1913 Armory Show, promoting artists such Picasso, Matisse, Rodin, Cezanne and Brancusi.
In 1921, Stieglitz was given a retrospective exhibition, at the Anderson Galleries and Auction house, featuring 145 of his photographs, including his composite portrait of Georgia O’Keeffe. His relationship with Anderson Galleries expanded into organizing other exhibitions and eventually renting a space from the auction house that became the Intimate Gallery.
True to Stieglitz’s mantra, “a new vision for a modern world,” this spacious gallery was located on the 17th floor of a newly constructed skyscraper. An American Place was an intellectual hub for young artists and attracted visitors wanting to meet Stieglitz.
