Weston exhibit at Art Institute of Chicago

[Jim Chinn]

I would like to make a few comments and observations after viewing "Edward Westo n: The Last Years in Carmel", currently exhibiting at the Art Institute of Chica go.

I have seen previous Weston exhibits and prints as part of gallery collections, and while always acknowledging Weston as a great photographer and 20th century i nfluence, I did not agree with the near "god" status many have given him. Howeve r, upon seeing this show I will elevate him much nearer that status. For those who have not seen a review (see previous issue of Black and White magazine or ar chives of Chicago Tribune) the exhibit is mainly landscapes and abtracts from Po int Lobos, nudes and images of his sons and family from 1938-1945. While I was not impressed with the nudes or family work, the landscapes are quit e incredible. The images are much darker with a wonderfully complex balance bet ween the subdued highlights and shadows of the prints. Upon first examination o f one print ( I forget the title) which shows a setting sun behind clouds taken from hills above Point Lobos the ocean looks almost completely black. Upon clos er examination one begins to see an incredible tonal delineation in the shadows, subtley revealing every wave crest, ripple and trough. I have never seen print s that show such depth and gradation in the shadows while stil maintaining a per fect compelment in the highlights. many of thes images are of chaotic, almost ra ndom subjects and Weston's use of lighting and printing brings a beautiful melan choly to each compostion.

Alright, sorry to be so long winded, these thoughts bugged the entire trip home so two observations: First, Anyone who can see this show will have a new appreci ation for his talents and vision as an artist, especially when one knows how pri mitive his methods were. Second, and not to start a firestorm, this exhibit demostrates why Weston is one of the great artists of any medium in the 20th century. Here was a man who obvi ously knew his life would be cut short and yet continued to grow and evolve his vision and art. That is something that not even the much more famous Ansel Adam s did, as his work was basically a repetion of old themes after 1950, even thoug h he was blessed with many more years to work than Weston.

[david clark]

Hi James, wait until you see some of his personal snap shots in the box which is known as his personal archives in the George Eastman House collection. Best, David

[jim_2073]

Minor White compared these later Point Lobos prints to Beethoven's later quartets. There is no higher or more appropriate praise possible. Please listen and look. String quartet in C sharp minor OP. 131. Among our finest creations.

[mark lindsey]

yes Weston was an amazing photographer, now you need to educate yourself on Adams.

[josh_2154]

Mark- Why?

[mark lindsey]

because this statement,"as his work was basically a repetion of old themes after 1950", is bs.

Mark

[Ellis Vener]

Mark you are right, it wasn't until after 1954 that Adams started repeating himself. Even Adams himself admitted that. Try reading Mary Street Alinder's biography of Ansel Adams for more details.

[mark lindsey]

I can see for myself from his work that it is not true. its funny to me how everyone holds weston up as a god, yet ignore the fact that he had great respect for adams as an artist and a human being. both adams and weston talked of the other as being the better artist.

I know that to berat adams is the "fashion", especially amoungst those who need to have the appearance of being "all knowing" and "modern", but the most common trait is the lack of any substance in their work.

Weston wouldn't even let those who he considered to be uncreative cross the threshold of his door--Adams was a good friend and always welcomed, I doubt that most of you "intellectuals" who talk the big talk here would even get onto the driveway.

[BJ]

Weston had a driveway?

You seem awfully defensive there Mark. You always this way?

[Jorge Gasteazoro]

LOL....chill out Mark.