Brett Weston Books

[Salmo22]

I'm sure the Lomida Press books are wonderful and worth every penny, but...

I should have mentioned that I get to rub shoulders with Randy Efros' occasionally and had the honor of working with him in his darkroom to make some prints for a portfolio I'm working on. I had a great time talking with Randy. I've reserved a copy of his "My Time with Brett" bio. I've watched the 3-Part YouTube series with Randy, Sexton, and Kim. I love their remembrances and anecdotes.

Merg; Randy also recommended Art Wright's film. I intend to visit Wildcat in 2022, genuflect in Edward's darkroom, and visit the Photography West Gallery.

[Bernice Loui]

The Weston Gallery in Carmel, Photography West Gallery (say hello to Julia) are two different art galleries in Carmel do visit both, ask to look at prints that are not on display..

Also in Carmel.. visit the center for Photography.
https://photography.org


Bernice

visit the Photography West Gallery.

[Merg Ross]

Besides all the other books already suggested, I'd include "Brett Weston: Out of the Shadow" and "My Time with Brett" by Randy Efros

Excellent suggestions, Doug. Nice to hear from you; I thought Florida, but see you have moved.

Mark, re "Out of the Shadow" was indeed spectacular; probably the best exhibition of Brett's work I have seen. I was at its opening at the Santa Barbara Museum, invited to a small panel reminiscing about Brett. The accompanying book sold out early; as you note, good reproductions. Perhaps used ones are available.

[Michael R]

I wasn’t aware he did some sculpting.

[Drew Wiley]

The wood sculptures themselves resemble the dune contours in his photographs, or as if they were based on shoreline geologic features well known to him. I don't think he'll ever be remembered as a significant sculptor; but in proximity to his prints, these do become interesting.

[Doug Howk]

The Monterey Museum of Art had in 2002 an exhibit and catalog titled "In Pursuit of Form: Sculpture and Photographs by Brett Weston". Includes an essay by Mary Murray

[Michael R]

The wood sculptures themselves resemble the dune contours in his photographs, or as if they were based on shoreline geologic features well known to him. I don't think he'll ever be remembered as a significant sculptor; but in proximity to his prints, these do become interesting.

Well if you’re interested one just came up for sale at Afterimage. Apparently he referred to it jokingly as The Ruptured Duck.

[Merg Ross]

An informative chat about Brett by some who knew him well: Kim Weston, John Sexton & Randy Efros

https://www.youtube.com/watch?v=N9gxDGWebdc

Doug, thanks for mentioning this. It's an interesting chat, and Randy's book is excellent.

However, the group knew Brett in his later years, when he was better off financially. And, of course, better known for his work. I am reminded of Merle Armitage writing of the time that he published Edward Weston's first book in 1932; "When I met Edward, he was a little local Southern California photographer. I had to struggle like hell to get the book out. Where he would have been without this is your guess, as only a very few discerning people in California had even heard of him." Twenty-five years later, Merle published Brett's first book, shortly before Edward died.

I watched Brett struggle through the 50's and 60's. He had no money for the luxuries of life that came later. He was poor, even taking work as a laborer and plumber. When I was seventeen, I worked alongside him building the house that my father had designed for him in the Carmel Highlands. Brett would rather have been photographing, but he knew that he could not exist on his work alone; that would come. When he met me in New York City, early in 1960, he had taken the train from California; it was all he could afford. I got him a room at the YMCA. The purpose of his visit was arranged by David McAlpin, his and Edward's patron for many years; an opportunity for Brett to sell some prints at a gathering in Princeton. I was there that evening; he sold some prints, took the train back to California, and departed on his first European trip a few months later.

It 1972, I suggested to Brett that he consider applying for a NEA grant to photograph in Alaska. I had sent for the forms, but did not apply as our daughter was recently born. Brett did apply, and was selected. He was very excited, and invited me along. I could not accept, but was happy for Brett.

Sorry for getting so far off topic, but a reminder that many of those we hold in high regard had their struggles. In the case of Brett, he was driven by an unusual passion and dedication. We are rewarded by the marvelous results.

[Drew Wiley]

Such first-hand details are appreciated, Merg. I'd end up sleeping in the cat box on the front porch if I bought any more photo books. But what's more important is the distinct impression gained from seeing Brett's actual prints. I was only doing color printmaking and exhibiting back when I was around that neighborhood. I had seen numerous EW prints before, but not Brett's work, and it was an unforgettable impression when I did. Now life brings different challenges, like what to do with my mountain of prints, estate-wise, before that becomes a crisis issue - guess that's quite a problem in common for a number of us. But I'm addicted to printmaking; and as it's as instinctively-driven for me as water is to a duck - so the mountain just keeps accumulating. It's been very rewarding and enjoyable, regardless of where it all eventually ends up. And except in certain special instances, I don't try to replicate the style of what previous generations or half-generations already did so well. I tend to think that a particular genre subset within black and white photography peaked with people like Brett and you, Merg. Leave it for what it is. Those of us afterwards have our own niche opportunities.

[Salmo22]

I'd end up sleeping in the cat box on the front porch if I bought any more photo books.

I am faced with a similar "rule of law" in my life.