# data[].attributes.body
This photograph is known as "The Steerage", which is considered one Stieglitz's signature work. It was proclaimed by the artist and illustrated in histories of the medium as his first "modernist" photograph.

# data[].attributes.body
Stieglitz was a major force in the promotion and elevation of photography as a fine art in America in the late nineteenth and early twentieth centuries. His own photographs had an equally revolutionary impact on the advancement of the medium.

# data[].attributes.body
This photograph of Georgia O'Keeffe  is part of an extraordinary composite portrait. Stieglitz thought that the photo should not focus only on the face, but should be a record of a persons's expressive movements, emotions, and gestures in order to collectively evoke a life.
He said, "To demand the portrait that will be a complete portrait of any person is as futile as to demand that a motion picture be condensed into a single still."

# data[].attributes.body
This is a photograph of the construction of the skyscrapers of midtown Manhattan from Stieglitz's windows of his gallery and of his nearby apartment in the Shelton Towers. His photographs seem not to celebrate the astonishing growth of new buildings but rather almost geological permanence and stability.

# data[].attributes.body
Margaret's photograph of the Chrysler Building in New York was the rocket trajectory of her ascending career. Her portrait of the Art Deco masterpiece is futuristic and self-celebratory.

# data[].attributes.body
The first issue of the LIFE magazine was published in 1934 with Margaret's photograph as its cover. This cover photo taken by Margaret Bourke White.

# data[].attributes.body
Margaret Bourk White went to Buchenwald and photographed the dead bodies of those who died in the Holocaust. Life Magazine published these photos saying, “Dead men will have indeed died in vain if live men refuse to look at them.”

# data[].attributes.body
Margaret captured this photo in Italy of American infantrymen dropping their personal belongings into boxes. They did this because regulations forbid any identification except dog tags, in preparation for their night raid on German positions.

# data[].attributes.body
Alfred Eisenstaedt also worked closely with Margaret Bourke as a another prominent LIFE Magazine photographer. This image shows British Prime Minister Winston Churchill flashing the "V for Victory" sign in Liverpool, England in 1951. This gesture served to inspire and unite millions as a rallying emblem during WW2. This photo was featured in the LIFE magazine.

# data[].attributes.body
This photograph took place post-war in 1960. Senator John F. Kennedy was in his office after being nominated at the democratic convention. This was featured in the LIFE Magazine.

# data[].attributes.body
This photograph, taken in 1963, captures the faces of young children as they sit watching a puppet show of the story Saint George and the Dragon. Taken right at the moment when Saint George slays the mythical best, Eisenstaedt captures the thrill, shock, pleasure and horror of the children as they watch the story unfold. Eisenstaedt depicts all the innocence of youth in their reactions to the storytelling.

# data[].attributes.body
Charles Moore photographed the civil rights movement. Moore’s image of a police dog tearing into a black protester’s pants captured the routine brutality of segregation. When the picture was published in LIFE, it quickly became apparent to the rest of the world what Moore had long known: ending segregation was not about eroding culture but about restoring humanity. Hesitant politicians soon took up the cause and passed the Civil Rights Act of 1964 nearly a year later.

# data[].attributes.body
Josef Koudelka is a young Moravian-born engineer who took wistful and gritty photos of Czech life. He took pictures of the swirling turmoil and created a groundbreaking record of the invasion that would change the course of his nation. The most seminal piece includes a man’s arm in the foreground, showing on his wristwatch a moment of the Soviet invasion with a deserted street in the distance. It beautifully encapsulates time, loss and emptiness—and the strangling of a society.
His pictures were smuggled out of Czechoslovakia and appeared in the London Sunday Times in 1969

# data[].attributes.body
Sam Nzima was at a protest with Soweto students outside South Africa in 1976. He spotted Pieterson fall down as gunfire showered above. He kept taking pictures as terrified high schooler Mbuyisa Makhubu picked up the lifeless boy and ran. The peaceful protest soon turned into a violent uprising, claiming hundreds of lives across South Africa.
The picture’s publication forced Nzima into hiding amid death threats, but its effect could not have been more visible. Suddenly the world could no longer ignore apartheid. The seeds of international opposition that would eventually topple the racist system had been planted by a photograph.

# data[].attributes.body
This photograph witnesses Chinese troops attacking pro-democracy demonstrators. He photographed a man carrying shopping bags stepped in front of the war machines, waving his arms and refusing to move.
"Tank Man" became a global hero but he remains unidentified. The anonymity makes the photograph all the more universal, a symbol of resistance to unjust regimes everywhere.