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17
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"Photography-Latin America"
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The itinerant languages of photography
The Itinerant Languages of Photography examines photography's capacity to circulate across time and space as well as across other media, such as art, literature and cinema. Taking its point of departure from Latin American and Spanish photographic archives, the volume offers an alternative history of photography by focusing on the transnational dimension of technological traffic and image production at a time when photography is at the centre of current debates on the role of representation, authorship and reception in a global contemporary culture. Featuring images that converse across temporal, political and cultural boundaries by artists such as Lola and Manuel Alvarez Bravo, Henri Cartier-Bresson, the book argues that the photographic image comes into being only as a consequence of reproduction, displacement and itinerancy. Exhibition: Princeton University Art Museum, USA (07.09.2013-19.01.2014).
Book
Argentine, Mexican, and Guatemalan Photography
One of the important cultural responses to political and sociohistorical events in Latin America is a resurgence of urban photography, which typically blends high art and social documentary. But unlike other forms of cultural production in Latin America, photography has received relatively little sustained critical analysis. This pioneering book offers one of the first in-depth investigations of the complex and extensive history of gendered perspectives in Latin American photography through studies of works from Argentina, Mexico, and Guatemala.David William Foster examines the work of photographers ranging from the internationally acclaimed artists Graciela Iturbide, Pedro Meyer, and Marcos López to significant photographers whose work is largely unknown to English-speaking audiences. He grounds his essays in four interlocking areas of research: the experience of human life in urban environments, the feminist matrix and gendered cultural production, Jewish cultural production, and the ideological principles of cultural works and the connections between the works and the sociopolitical and historical contexts in which they were created. Foster reveals how gender-marked photography has contributed to the discourse surrounding the project of redemocratization in Argentina and Guatemala, as well as how it has illuminated human rights abuses in both countries. He also traces photography's contributions to the evolution away from the masculinist-dominated post–1910 Revolution ideology in Mexico. This research convincingly demonstrates that Latin American photography merits the high level of respect that is routinely accorded to more canonical forms of cultural production.
eBook
Lola âAlvarez Bravo : picturing Mexico
\"Lola âAlvarez Bravo (1903-1993) lived and worked in Mexico City from 1927 to 1993 where she played a critical role in the country's cultural renaissance. With over forty photographs and photomontages, this book spans the artist's prolific five-decade career. Beyond her creative output as a photographer, this catalogue addresses âAlvarez Bravo's role in building and securing the legacy of the post-revolutionary period through her work as a political activist, educator, and curator. The book recognizes the artist's dialogue with modernist photographers including Tina Modotti, Edward Weston, and Paul Strand, while also situating her within the broader cultural sphere in which she operated--offering new insight into the mutual influence she shared with prominent painters, filmmakers, and literary figures of her time\"-- Provided by publisher.
Book
Textual Exposures : Photography in Twentieth Century Spanish American Narrative Fiction
This book examines how twentieth-century Spanish American literature has registered photography's powers and limitations, and the creative ways in which writers of this region of the Americas have elaborated in fictional form the conventions and assumptions of this medium. While the book is essentially a study of literary criticism, it also aims to show how texts critically reflect upon the media environment in which they were created. The writings analyzed enter a dialogic relation with visual technologies such as the x-ray, cinema, illustrated journalism, and television. The study examines how these technologies, historically and aesthetically linked to the photographic medium, inform the works of some of the most important writers in Latin America. Methodologically, the close readings of the texts centre on the figure of ekphrasis (defined as the verbal representation of a visual representation). The book is concerned with the thematic, symbolic, structural and cultural imprints photography leaves in narrative texts. The author relies on an immanent approach, reading the selected texts according to their own specificities and making the relevant thematic and structural connections between them drawing from a variety of sources in the fields of literary criticism and theory and history of photography.
eBook
Noches fieras, 1970-2017 = Savage nights, 1970-2017
Fotâografos participantes: Omaira Abadâia Rey (Colombia); Fabi Al Mundy (Argentina); Luiz Alphonsus (Brasil); Yolanda Andrade (Mâexico); Ever Astudillo (Colombia); âAlvaro Barrios (Colombia); Gerardo Bastâon (Mâexico); Ricardo Bezerra (Chile); Miguel Calderâon (Mâexico); Armando Cristeto (Mâexico); Marco Antonio Cruz (Mâexico); Josâe Luis Cuevas (Mâexico); Luis Delgado (Mâexico); Jorge Deustua (Perâu); Carlos Domâinguez (Perâu); Felipe Ehrenberg (Mâexico); Paz Errâazuriz (Chile); Fotolux (Colombia); Fernell Franco (Colombia); Paolo Gasparini (Italia-Venezuela); Rosa Gauditano (Brasil); Lourdes Grobet (Mâexico); Ernesto Jimâenez (Perâu); Ricardo Jimâenez (Venezuela); Fabrizio Leâon Diez (Mâexico); Hâector Lâopez (Chile); Ayrton de Magalhنaes (Brasil); Agustâin Martâinez Castro (Mâexico); Enrique Metinides (Mâexico); Ernesto Molina (Mâexico); Josâe Moreno (Chile); John O´Leary (Mâexico); Andrâes Orjuela (Colombia); Pablo Ortiz Monasterio (Mâexico); Rubâen Ortiz Torres (Mâexico); Viki Ospina (Colombia); Daniel Pajuelo (Perâu); Ataâulfo Pâerez Aznar (Argentina); Xavier Quirarte (Mâexico); Santiago Rebolledo (Colombia); Miguel Rio Branco (Brasil); Miguel âAngel Rojas (Colombia); Josâe Sigala (Venezuela); Pedro Slim (Mâexico); Francisco Smythe (Chile); Alfredo Srur (Argentina); Laureana Toledo (Mâexico); Nicolâas Torres (Perâu); Rubâen Torres Llorca (Cuba); Juan Travnik (Argentina); Josâe Luis Venegas (Mâexico); Yvonne Venegas (Mâexico); Leonora Vicuنna (Chile); Rogelio Villarreal (Mâexico); Manuel Zavala Alonso (Mâexico); Helen Zout (Argentina); y Facundo de Zuvirâia (Argentina).
Book
Nuevo New York
Nuevo New York is a collection of portraits and interviews with influential Latin Americans who came to New York City to pursue their ambitions. The portraits are born out of a collaboration between two authors who made the journey from Latin America to New York themselves, photographer Hans Neumann (born in Peru), and fashion publicist Gabriel Rivera-Barraza (born in Mexico). Each figure included in Nuevo New York is an important player in the fields of fashion and the arts, having lived in New York City for at least five years and having gained recognition for their work. Neumann and Rivera-Barraza trace how their subjects came to be who they are today, and what role the city of New York has played in their trajectories. Interviewees include Andres Serrano, Candy Pratts Price, Carolina Herrera, Enrique Norten, Estrellita Brodsky, Francisco Costa, Josâe Parlâa, Lazaro Hernandez, Marâia Cornejo, Proenza Schouler, Isabel & Ruben Toledeo, Narciso Rodriguez, Victor Alfaro, Carlos Campos,Edmundo Castillo, Miguel Enamorado, and Nina Garcia.
Book