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 writer of this short article tells us that there will be an exhibition of about 100 photographs of the “very delicate” work of Edward Weston. He tells us that these works will be related to the concept of daily life in Mexico, and that the photographer valiantly avoids “vulgarity.” The writer emphasizes that both [Weston and his partner Tina Modotti] will be available to chat and at the same time, provide an interpretation of the “photographic portraits” done by Modotti.
This short article and invitation to an exhibition by the Californian photographer Edward Weston (1886-1958) sets forth some of the terms in which he conceived his work—between what is art and what is photography. In a few lines, the writer refers to the photography done by journalists, which is undeniably superficial. The question arises about whether to consider the photographer “Mexican,” since his experience in Mexico was limited to a few years. These photographs are still marked by pictorialism, when we see them as “photographic portraits.” Yet we can also see some of the precepts introduced by the work of Weston and Tina Modotti (1896-1942) through their presence in the Mexican cultural milieu of the 1920s.