The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The article explains that neither of Edward Weston’s two exhibitions of photographs taken in Mexico had been well received in Los Angeles, California. The writer says that Weston was aware that, in California, Mexicans were considered an inferior race, which explained why his takes were not understood. The article shares aesthetic opinions on the photographer’s work and on how Weston managed to make an art of his photography, which wasn’t at that time considered the norm for artistic photography.
The American photographer Edward Weston (1886–1958) felt an attraction for the cultural life of Mexico in the 1920s, and visited the country with his disciple Tina Modotti (1896–1942) in August 1923. They immersed themselves in the local artistic and intellectual milieu, and took part in a number of exhibitions in Mexico City and Guadalajara. They also published photos and essays on photography in magazines such as Mexican Folkways and Forma. In Mexico, Weston and Modotti distanced themselves from the pictorialist school of photography and, instead, used photography for a quite different purpose: to capture the autonomous image in terms of its actual photographic features. Weston believed that photography was worthless when it imitated another form of expression using technical tricks or different points of view. Weston left the country in 1927 and settled permanently in California.