Mexican photographer Manuel Alvarez Bravo reached the height of his career between the Revolution and the Depression, and his work reflects the extreme spirit of the time. He used one eye like Margaret Bourke-White and the other like Man Ray, specializing in gritty black-and-white shots of often-grim subjects, such as in Striking Worker, Assassinated , which examines the very uneasy tension between suffering and serenity. Weston—himself a devotee of what he called “stark beauty” and known for the clarity and severity of his work—was a fan and supporter of Bravo, telling the younger photographer, “It is not often I am stimulated to enthusiasm over a group of photographs.” Together, they’d connect shadow to light—philosophically and on film. Presented by art gallery director, photographer and photo-historian Phil Marquez.
Wed., March 10, 2-3:30 p.m., 2010
