VISUAL ARTS
BY BLAKE ANDREWS
EDWARD WESTON,
DIEGO RIVERA, 1924
SOUTH OF
THE BORDER
Mexico is the inspiration
and location of a
photography collection
currently on display
“M
írame Bien!” pleads the current photog-
raphy exhibit in the Morris Graves gal-
lery at the Jordan Schnitzer Museum of
Art — “Take a good look at me!” That’s
sound advice when visiting any photo
show, but particularly the diminutive prints of Edward
Weston, Paul Strand and Manuel Alvarez Bravo.
Tucked in a dark antechamber behind the sweeping
Cuba Ocho exhibit, this show squeezes a handful of note-
book-sized photos into a space roughly the size of a taco
truck, a display method which feels at once like an homage
to the bygone era of small printing and a nod to the con-
temporary trend — Portland Art Museum, anyone? — of
relegating photography to secluded museum corners.
But local photo buffs needn’t fret. Bring your read-
ing specs, get close and meet the show’s imperative —
“Mírame Bien!” — and you’ll be rewarded with a fresh
impression of Mexico.
Although disparaged by the current buffoon-in-chief,
our southern neighbor has long been a creative hotspot.
In the 1920s, post-revolutionary Mexico attracted curi-
ous norteamericanos in droves, Paul Strand and Edward
Weston among them. Both made extended junkets south
of the border as wandering thirty-somethings, taking
plenty of photos along the way. The small selection at the
Schnitzer bristles with the restless energy of wide-eyed
young travelers.
Strand’s photogravure of a pastoral vista, purportedly
his first photograph made after crossing the border, brims
with a sense of possibility as the scene recedes to the fron-
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Mírame Bien: Portraits of Mexico by Manuel Álvarez Bravo, Paul Strand, and
Edward Weston is on view at the Jordan Schnitzer Museum of Art through Jan.
21, 2018.
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tier. It’s the only true landscape in the show, and the only
place for the viewer’s gaze to unwind.
Linger here for a moment before moving on to Strand’s
other photos. He tightens the frame in a nearby candid
street portrait — exposed secretly with a sideways view-
finder — and a caricature of Jesus. All three images are en-
ergized by a sense of alienation and the spell of the exotic.
Weston’s full adventures in Mexico, narrated wonder-
fully in his Daybooks, are beyond the scope of this review.
But his three portraits here hint at his immersion. He made
friends as easily as he made photos.
Within a few short months in Mexico City, Weston was
enmeshed in the local avant-garde art scene and photo-
graphing its central characters. Informal portraits of Diego
Rivera, Guadalupe de Rivera and Tina Modotti evince a
relaxed atmosphere, and serve as counterweight to the ten-
sion of Strand.
The magic of Weston is that, even when photographing
friends, he was able to achieve an objective formality that
superseded subject matter. His photograph of an ancient
pyramidal ruin, one of the show’s highlights, is so sharply
realized it nearly jumps from the frame.
As fine as Strand and Weston are, both are overshad-
owed in this show by their Mexican colleague Manuel Ál-
varez Bravo, who lords over the room with just two plati-
num prints: one of a boy urinating into a bowl, the other an
eerie posthumous face.
The peeing boy seems an homage to Weston’s well-
known nude torso of his son Neil, but with vitality replac-
ing formalism. Facing this print across the dim room —
balancing the entire curation — the dead portrait is its inert
antithesis. Bravo’s morbid surrealism roots the entire show
where it belongs: south of the border.
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eugeneweekly.com • July 6, 2017
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