@taschen
This beautifully done book of photography by Edward Weston was edited by Manfred Heiting and comes with an essay by Terence Pitts and with a (very brief, comprising merely half a page) portrait by Ansel Adams who wrote among other things: "Edward suffers no sense of personal insecurity in his work; he required no support through 'explanations,' justifications or interpretations ... I would prefer to join Edward in avoiding verbal or written definitions of creative work. Who can talk or write about the Bach Partitas? You just play them or listen to them." And this is exactly what I did after having read that.
Edward
Weston with Seneca View Camera
Copyright: Collection Center of Creative Photography
© 1981 Center for Creative Photography, Arizona Board of RegentsPhoto: Tina Modotti, 1924
Edward Weston was the son of a doctor, his mother died when he was five, his formal education ended before high school. "I cannot believe I learned anything of value in school, unless it be the will to rebel," he later wrote according to Terence Pitts who writes about the life and art of the photographer in an interesting text entitled "Uncompromising Passion".
Before spending time with this book, I was only familiar with Weston's Nudes and his relationship with Tina Modotti, an Italian immigrant to the United States who had acted in several silent movies in Hollywood and who would eventually become a photographer herself. Their time in Mexico had quite an impact on Weston. "In his daybooks he described street life in Mexico as 'sharp clashes of contrasting extremes ... vital, intense, black and white, never gray'. By contrast, Glendale, California, now seemed 'drab, spiritless, a uniform gray – peopled by exploiters who have raped a fair land."
Eggs and Slicer, 1930
Copyright: Collection Center of Creative Photography
© 1981 Center for Creative Photography, Arizona Board of Regents
Edward Weston believed that photography must take a different avenue than the other arts. "The camera should be used for recording a life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh." And so he also photographed shells and sliced vegetables. "Weston made many of the photographs that are now recognized as among the most important: photographs of a gleaming white chambered nautilus shell set in a dark, ambiguous space; pairs of shells tucked into each other; and sensous bell peppers."
Many of his photographs are razor-sharp, and quite some taken from up close. His credo from later years can be felt or so it seems. "I am no longer trying to 'express myself,' to impose my own personality on nature, but without prejudice, without falsification, to become identified with nature, to see or know things as they are, their very essence, so that what I record is not an interpretation – my idea of what nature should be – but a revelation, a piercing of the smoke screen ..."
Copyright: Collection Center of Creative Photography
© 1981 Center for Creative Photography, Arizona Board of RegentsPhoto: Tina Modotti, 1924
Edward Weston was the son of a doctor, his mother died when he was five, his formal education ended before high school. "I cannot believe I learned anything of value in school, unless it be the will to rebel," he later wrote according to Terence Pitts who writes about the life and art of the photographer in an interesting text entitled "Uncompromising Passion".
Before spending time with this book, I was only familiar with Weston's Nudes and his relationship with Tina Modotti, an Italian immigrant to the United States who had acted in several silent movies in Hollywood and who would eventually become a photographer herself. Their time in Mexico had quite an impact on Weston. "In his daybooks he described street life in Mexico as 'sharp clashes of contrasting extremes ... vital, intense, black and white, never gray'. By contrast, Glendale, California, now seemed 'drab, spiritless, a uniform gray – peopled by exploiters who have raped a fair land."
Eggs and Slicer, 1930
Copyright: Collection Center of Creative Photography
© 1981 Center for Creative Photography, Arizona Board of Regents
Edward Weston believed that photography must take a different avenue than the other arts. "The camera should be used for recording a life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh." And so he also photographed shells and sliced vegetables. "Weston made many of the photographs that are now recognized as among the most important: photographs of a gleaming white chambered nautilus shell set in a dark, ambiguous space; pairs of shells tucked into each other; and sensous bell peppers."
Many of his photographs are razor-sharp, and quite some taken from up close. His credo from later years can be felt or so it seems. "I am no longer trying to 'express myself,' to impose my own personality on nature, but without prejudice, without falsification, to become identified with nature, to see or know things as they are, their very essence, so that what I record is not an interpretation – my idea of what nature should be – but a revelation, a piercing of the smoke screen ..."
Nude, 1936 Copyright: Collection Center of Creative Photography
© 1981 Center for Creative Photography, Arizona Board of Regents
My favourite pics in this tome show dunes, landscapes and the ones that present views of the Armco Steel mill in Ohio. Weston felt that the artist had to respond to "the architecture of the age, good or bad – showing it in new and fascinating ways", as he had written in his daybooks. Stieglitz, whom he showed his portfolio of prints, was not enchanted. "Instead of destroying or disillusioning me he has given me more confidence and sureness – and finer aesthetic understanding of my medium", Weston wrote to his friend Johan Hagemeyer." In other words, his ego seemed to match the one of Stieglitz.
Edward Weston
1886-1958
Essay by Terence Pitts
With a Portrait by Ansel Adams
Edited by Manfred Heiting
Taschen, Cologne 2017
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