{'fraction_non_alphanumeric': 0.03225806451612903, 'fraction_numerical': 0.0047789725209080045, 'mean_word_length': 5.116788321167883, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
But, is it Art?

Abstract In 1884, in the case of Burrow-Giles Lithographic Company v. Sarony, a copyright-infringement pleading, the US Supreme Court ruled that photography was indeed a fine art (and the work of photographers, therefore, enjoyed protection by rule of law). Although legally settled, the question ‘Is Photography Art?’ continued to be debated for the next two decades in the cultural communities of art and photography. Paul Spencer Sternberger's study, Between Amateur and Aesthete, carefully examines the course of this late nineteenth-centmy debate. He outlines the theoretical strategies used, and the institutional forms devised, in the effort to define photography as a legitimate art form. His analysis of the issue is fresh and contributes new understanding to this important facet of the history of photography.