Abstract
Abstract On 8 February 1917, Alvin Langdon Coburn exhibited 18 photographs at the Camera Club in London (Figures 10–14, 16, 24–29). Those pictures were labelled Vortographs by Ezra Pound in his unsigned introduction to the catalogue of that show.1 Thereby, Coburn found himself identified for a short period of time with one of the most avant-garde currents of contemporary English art. For about six months at the end of 1916 and the beginning of 1917 Coburn was caught in the whirlpool of Vorticism.
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