Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

This Photography Which Is Not One: In the Gray Zone with Tina Modotti

This Photography Which Is Not One: In the Gray Zone with Tina Modotti This Photography Which Is Not One: In the Gray Zone with Tina Modotti CAROL ARMSTRONG Prolegomena: Speaking from the Body June 25. I must take time to write about the reactions to my shell prints, as written by Tina from Mexico after showing them to several old acquaintances. First, to quote briefly the most salient remarks. “My God, Edward, your last photography surely took my breath away! I feel speechless in front of them. What purity of vision. When I opened the package I couldn’t look at them very long, they stirred up all my innermost feelings so that I felt a physical pain.” Later—same morning— “Edward—nothing before in art has affected me like these photographs. I cannot look at them long without feeling exceedingly perturbed, they disturbed me not only mentally but physically. There is something so pure and at the same time so perverse about them. They contain both the innocence of natural things and the morbidity of a sophisticated, distorted mind. They make me think of lilies and embryos. They are mystical and erotic.”1 So wrote Tina Modotti to Edward Weston concerning her reaction to his photographs of shells. Or rather, so Weston quoted Modott http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png October MIT Press

This Photography Which Is Not One: In the Gray Zone with Tina Modotti

October , Volume Summer 2002 (101) – Jul 1, 2002

Loading next page...
 
/lp/mit-press/this-photography-which-is-not-one-in-the-gray-zone-with-tina-modotti-xfsQoTc0g6
Publisher
MIT Press
Copyright
© 2002 October Magazine, Ltd. and Massachusetts Institute of Technology
ISSN
0162-2870
eISSN
1536-013X
DOI
10.1162/016228702320275436
Publisher site
See Article on Publisher Site

Abstract

This Photography Which Is Not One: In the Gray Zone with Tina Modotti CAROL ARMSTRONG Prolegomena: Speaking from the Body June 25. I must take time to write about the reactions to my shell prints, as written by Tina from Mexico after showing them to several old acquaintances. First, to quote briefly the most salient remarks. “My God, Edward, your last photography surely took my breath away! I feel speechless in front of them. What purity of vision. When I opened the package I couldn’t look at them very long, they stirred up all my innermost feelings so that I felt a physical pain.” Later—same morning— “Edward—nothing before in art has affected me like these photographs. I cannot look at them long without feeling exceedingly perturbed, they disturbed me not only mentally but physically. There is something so pure and at the same time so perverse about them. They contain both the innocence of natural things and the morbidity of a sophisticated, distorted mind. They make me think of lilies and embryos. They are mystical and erotic.”1 So wrote Tina Modotti to Edward Weston concerning her reaction to his photographs of shells. Or rather, so Weston quoted Modott

Journal

OctoberMIT Press

Published: Jul 1, 2002

There are no references for this article.