Weston’s Modernism

August 16, 2011

Nestled in an intimate room in the Art of the Americas Buildings is a small installation of twenty-five images by Edward Weston that explore tensions between subject/form and light/shadow. The organic spontaneity of the different connections and comparisons in the show encourage engagement beyond the four walls of the exhibition space.

Edward Weston, Legs, 1934

Edward Weston, Legs, 1934, The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

Edward Weston, Shells, 1927

Edward Weston, Shells, 1927, The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

Indeed, Weston’s articulation of the painterly, the sculptural, and the architectural through the camera points to both the uniqueness of the photographic medium and the infinite possibilities contained in vacant shells, eroded boulders, and smooth expanses of uncovered skin. Weston’s Modernism stands out as an exhibition that is as much about the artist’s personal connection to his work as it is about the viewer’s experience. Not unlike Tim Burton, Weston’s intense focus, immersion into his practice, and aesthetic ethics make for work that is sensitive, personal, and inspiring.

Edward Weston, Eroded Rock - Monterey Coast, 1931

Edward Weston, Eroded Rock – Monterey Coast, 1931, anonymous gift

While helping to finish the installation of the show, several pieces especially exemplified modernist perspectives. In particular, I was drawn to Eroded Rock. The weary lines on the surface, merging, crossing, and diverging evokes the passage of time, the endurance of nature, and most compellingly, the beautiful quietude of pure form. Eroded Rock and many more like it in the show are a must-see in their undefinable capacity for contemplation and appreciation. Michael Heizer’s Levitated Mass and Eroded Rock, though different in their dimensionality, share a perfect timelessness through their stolid yet fluid presentation.

Michael Heizer, Levitated Mass, 2011

The 340-ton boulder which will be a part of Michael Heizer's Levitated Mass

With many new projects coming up on LACMA’s campus, such as Levitated Mass’ arrival this fall, there will be many new things to see.  But to see what has always been around us in new ways continually revives and enriches Los Angeles’ diverse and vibrant art scene. Kelly C. Tang, Getty Multicultural Undergraduate Intern, Wallis Annenberg Photography Department