Over the past 50 years, Ms. Iturbide has captured layers of Mexico’s diverse cultures and practices, as well as the struggles and contrasts across the nation.
The New York Times
Text by Evelyn Nieves | Photographs by Graciela Iturbide
8 January 2019
Graciela Iturbide may be one of the most renowned photographers working today. Five decades into her journey with a camera, her work, most famously in indigenous communities in her native Mexico, has achieved that rare trifecta — admired by critics, revered by fellow photographers and adored by the public. She continues to travel, photograph and exhibit all over the world.
But it is becoming impossible to discuss her work without mentioning the Zapotec woman wearing live iguanas on her head.
Ms. Iturbide made the photo after happening upon Zobeida Díaz at a farmer’s market while living with the Juchitán of southeastern Oaxaca in 1979. It took several tries — the iguanas kept moving around, falling off, reducing her subject to laughter — but on her contact sheet, Ms. Iturbide found her “Nuestra Señora de las Iguanas (Our Lady of the Iguanas),” an image so arresting that 40 years later, its popularity is still growing.
In Mexico, “Nuestra Señora” is on murals, posters, postcards and road signs to Juchitán, and rendered into a life-size bronze sculpture in the Juchitán town square. It covers a brick building wall in East Los Angeles. It has gone viral. Fans have taken the rich black-and-white image and recreated it into graphic art, self-portraits, YouTube videos.
No wonder Ms. Iturbide says the image “is no longer mine.”
Nor is that iconic image her only claim to fame. In a long and varied career, Ms. Iturbide, 76, has done deep dives into her beloved country. She has documented the Seri Indians of Sonora, goat-slaughter festivals among the Mixtec of Oaxaca, funeral rites, cultural practices, complex landscapes, birds, herself.
Selections from these projects, “Graciela Iturbide’s Mexico,” drawn primarily from her own collection, will be on view at the Museum of Fine Arts in Boston, from Jan. 19 to May 12. Some of her most recent work, on Frida Kahlo’s bathroom (opened 50 years after Diego Rivera locked it upon her death), goes on display on Feb. 27 through June 16) as part of the museum’s exhibit “Frida Kahlo and Arte Popular.”
“Graciela Iturbide’s Mexico” unpacks Ms. Iturbide’s artistic journey as she captures layers of Mexico’s exquisitely diverse cultures and practices, struggles and contrasts.
Of course, it includes “Our Lady of the Iguanas,” on loan from the permanent collection of the Brooklyn Museum. It also includes “Angel Woman (Mujer Angel),” arguably Ms. Iturbide’s second-most famous image, an ethereal image taken from behind of a Seri woman with hair down her back and traditional dress who seems to float through the desert carrying the cultural prop of urban life at the time: a boombox.
In image after image, there is more going on than meets the eye.
Kristen Gresh, the Estrellita and Yousuf Karsh curator of photographs at the Museum of Fine Arts, who worked closely with Ms. Iturbide in organizing the exhibit, said what made her unique among the pantheon of photographers working today was her empathetic approach.
“For her, the camera is an instrument of sharing, making visible what, to many, is invisible,” Ms. Gresh said. Ms. Iturbide’s photos, she added, provide “a poetic vision of contemporary culture informed by a sense of life’s surprises and mysteries.”
“Jardín Botánico, Oaxaca, México (Botanical Garden, Oaxaca, Mexico),” 1998-99.CreditGraciela Iturbide/Courtesy of the Museum of Fine Arts, Boston
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