UNESCO Recognizes the Archive of Manuel Álvarez Bravo

Added on by ROSEGALLERY.

The artist's legacy continues to impact the world. 


The file of negatives and documents of Manuel Álvarez Bravo (1902-2002) was inscribed in the International Memory of the World Register of UNESCO.

The International Consultative Committee (ICC) of UNESCO's Memory of the World program recommended at its meeting held in Paris 78 new inscriptions in the UNESCO International Memory of the World register.

The file of Manuel Álvarez Bravo (considered the "greatest representative of twentieth-century Latin American photography") is manages by the Association that bears the same name as the photographer 

For the entire article, please visit El Universal.

John Chiara Price Increase

Added on by ROSEGALLERY.

There will be an increase of John Chiara's prices on 1 December, 2017.

Kindly let us know if you would like us to send you a PDF with available works.

John Chiara,  Levee Road: Burkes: State Line , (From the Mississippi Series), 2014

John Chiara, Levee Road: Burkes: State Line, (From the Mississippi Series), 2014

Spotlight Series: Pablo Ortiz Monasterio

Added on by ROSEGALLERY.

 How did we allow that to happen?  Who are we? 
Who have we become?

- Pablo Ortiz Monasterio

It has been three years since 43 students from a rural teaching college in Ayotzinapa disappeared in Iguala, Guerrero, Mexico, as they were on their way to Mexico City to commemorate the anniversary of the 1968 Tlateloco Massacre. Ever since the morning that photographer Pablo Ortiz Monasterio read the news of the abduction, he has been in shock and has wondered how he could keep the memory of these 43 students and work towards a world in which an event like this could never happen again. The shock of this tragedy and the evident complicity of authorities in the students’ disappearance has made Monasterio question who we are and how we got to this point. In Monasterio’s recent series Desaparecen? the artist delved into this tragedy and shone a light on the mark left on Mexico by the 43 missing students. 

Pablo Ortiz Monasterio,  Untitled , from the series  Desaparecen?

Pablo Ortiz Monasterio, Untitled, from the series Desaparecen?

When thinking of how to help preserve the memory of the 43 students, Pablo said, “I decided to use the tools I have in terms of conveying ideas through photography to talk about this.” With photographs that he had already taken, Monasterio searched for images that conveyed the pain, sorrow and anger that was felt throughout Mexico, hoping to find the emotions existing in the subtext of his photographs. 

When working with his photographs he came across an image with a glass tabletop tied to large green slabs of wood. The lines moving across the composition reminded him of the notebooks with printed green lines from when he was in a young student in school. Just as he would write across these lines as a student, he began writing the numbers counting up to 43 across the photograph - each number representing an Ayotzinapa student who was abducted and disappeared in September of 2014.


With this method in mind, Monasterio began to write 1 through 43 across many of his photographs, embedding their mark in the visual landscape while showing that the tragedy of Ayotzinapa exists within a wider context. 

Pablo Ortiz Monasterio,  Untitled , from the series  Desaparecen?

Pablo Ortiz Monasterio, Untitled, from the series Desaparecen?

With the photographs from the series, Monasterio created a book as well as a portfolio of prints. With the portfolio, Monasterio is able to subsidize his book, which is sold at an affordable price so that memory of the 43 students can reach as wide an audience as possible. 

Spotlight Series: Zeke Peña

Added on by ROSEGALLERY.

“Graciela's work grabs you, it pulls you in. So when I was working with her images I tried not to change them much, because I don't think they need anything. I was simply was trying to translate and place them in a graphic narrative.” -Zeke Peña

About fourteen years ago while traveling on a road trip through Northern Mexico, Zeke Peña brought only one book with him: a small, pocket-sized book of photographs by Graciela Iturbide. A few years ago, the works of Graciela Iturbide entered his life again when he was presented with the opportunity to illustrate Photographic: The Life of Graciela Iturbide, published by Getty Publications. It was not until he was preparing the proposal for the book that he made the connection between the subject of his most recent project and the photographs that accompanied him throughout the landscape of Northern Mexico. 

Zeke Peña, Juchitán, 2017

Zeke Peña, Juchitán, 2017

In the pages of Photographic, Peña recreated Iturbide’s subjects in a graphic form, allowing the reader to understand the narrative around Iturbide’s images. In one of Peña’s drawings, two women from Juchitán walk across the composition with their skirts flowing behind them as they move forward. The two walking women originate from a photograph in Iturbide’s series from Juchitán, a body of work that greatly resonates with Peña both because of the indigenous community’s resistance to western colonial, patriarchal influence and the subjects’ proximity to his own cultural and racial identity. Through the research that Isabel Quintero — the author of Photographic and Peña’s collaborator —  conducted, Peña learned in great detail about the lives and history of the women in Juchitán. Within a community where women owned property and had enormous agency relative to in western culture, the women in Juchitán moved with both power and a joyful sense of ease, which is felt strongly in Iturbide’s photographs. 

In Zeke’s drawing of the two women from Juchitán, they move across an empty space where the viewer can imagine their surroundings, but in the actual context of the photograph the words La Libertad are sprayed above them. Within their environment, everyday life moves alongside the political undertones of their existence. Libertad from the pressures of an imposing colonial culture that denounces their cultural practices and the agency of women in their community. Libertad from the invisibility of their lives and stories, for in Peña’s words: “For indigenous people, story is everything.”

Graciela Iturbide,  Untitled , from her series Juchitán, c. 1986

Graciela Iturbide, Untitled, from her series Juchitán, c. 1986

As a storyteller himself whose work is rooted in the oral histories of people of the border region, Peña felt the impact of Iturbide’s subjects and the mastered methodology with which she approached and photographed them, continuing to pass oral histories through a photographic form. Through the respect that Iturbide gave her subjects and stories, she spotlights the indigenous cultures she photographed in intimate and true detail. In Peña’s work from Photographic, he derives the subjects from Iturbide’s photographs while bringing his own discoveries and connections to the page, highlighting the intimate narratives that play through the works of Graciela Iturbide with his own pen. 

Legendary Mexican Photographer Gets Her Own Graphic Novel

Added on by ROSEGALLERY.

At 75 years old, Graciela Iturbide refuses to slow down. In fact, she’s about to become more relevant than ever. The legendary Mexican photographer will have her work displayed in two exhibits this month: at Scripps College “Revolution & Ritual: The Photographs of Sara Castrejon, Graciela Iturbide, and Tatiana Parcero” and the Hammer Museum’s “Radical Women: Latin American Art, 1965-1980”. Most importantly, she’ll also finally have her own biography published thanks to Getty Publications.

Autorretrato con serpientes, Oaxaca, México, 2006, Graciela Iturbide

Autorretrato con serpientes, Oaxaca, México, 2006, Graciela Iturbide

Photographic: The Life Of Graciela Iturbide” covers the photographer’s life from her conservative childhood in Mexico City through Catholic school, her marriage and subsequent divorce and many of her famous images to the present day. There is one major catch though. The biography is not just a novel but a graphic novel, a combination of letters and imagery influenced by Iturbide’s work.

“It took a while learning to do a script for [a graphic novel],” admits author Isabel Quintero who penned the script with artist Zeke Peña. “It was very stressful because later we learned … it usually takes two to three years to write a graphic novel. We got this project last June.”

Nuestra Señora de Las Iguanas, Juchitán, Oaxaca, 1979, Graciela Iturbide

Nuestra Señora de Las Iguanas, Juchitán, Oaxaca, 1979, Graciela Iturbide

It all began with the iguanas. One of Iturbide’s most famous and impressive photos is “Nuestra Señora De Las Iguanas,” Our Lady Of The Iguanas, which features a woman named Zobeida from the town of Juchitán bedecked in a crown of live iguanas sitting on her head. The power and symbolism of the imagery spoke to Quintero and Peña and they built their initial pitch to The Getty around that image.

“It’s a graphic novel, but it’s very experimental,” explains Quintero. “Initially, I wanted animals to tell her story because in Juchitán, she has that image, Nuestra Señora De Las Iguanas.”

The iguanas hold a conversation about that moment and fantasize about being immortalized along with Zobeida thanks to Iturbide and her lens. The pitch worked and the moment remained in the final draft of the book.


Read the entire article at kcet

See more Graciela Iturbide HERE.

Purchase Photographic: The Life of Graciela Iturbide in our shop

Tate acquires Martin Parr's 12,000-piece Photobook collection - British Journal of Photography

Added on by ROSEGALLERY.

The Tate acquires Martin Parr's comprehensive 12,000-piece photobook collection.  Selected books will be included in displays and exhibitions at Tate’s galleries, and the entire collection will be catalogued and made available to the public through the reading room at Tate Britain.

David Bailey’s Box of Pin Ups 1965. From The Martin Parr Collection, Tate, purchased with funds generously provided by the LUMA Foundation and with the assistance of Tate Members, Art Fund, Tate Americas Foundation, Tate Photography Acquisitions Committee, Tate Latin American Acquisitions Committee, Tate Asia Pacific Acquisitions Committee, Tate Russia and Eastern Europe Acquisitions Committee and Tate Middle East and North Africa Acquisitions Committee

David Bailey’s Box of Pin Ups 1965. From The Martin Parr Collection, Tate, purchased with funds generously provided by the LUMA Foundation and with the assistance of Tate Members, Art Fund, Tate Americas Foundation, Tate Photography Acquisitions Committee, Tate Latin American Acquisitions Committee, Tate Asia Pacific Acquisitions Committee, Tate Russia and Eastern Europe Acquisitions Committee and Tate Middle East and North Africa Acquisitions Committee

“I have always wanted my photobook collection to go to a public institution in the UK and with the recent commitment to photography from Tate, this was a very easy decision to make. I’m also very happy that thanks to Maja and LUMA, the city of Arles will embrace the photobook phenomenon,” says Martin Parr.

Well-known as an avid photobook collector, co-author of the seminal three-volume anthology The Photobook: A History, and a respected photographer, the Magnum Photos member has given his entire collection to Tate. Built up over 25 years and including 12,000 photobooks, it is a world-class library which includes a broad geographical scope and many different approaches to photography, and includes self-published amateur work and mass-produced books alongside iconic publications by artists such as Hans Bellmer, Nobuyoshi Araki and Robert Frank.

Read the entire article on bjp-online.com
See more on Martin Parr HERE

Spotlight Series: Jo Ann Callis

Added on by ROSEGALLERY.

“I remember parting her hair and carefully drawing the black line from the top of her head down to her waist in one gesture. I was thinking about what it would feel like to be on the receiving end of that drawn line. It might give a pleasant little chill up the spine and visually it left the door open to interpretation.”

A thin, black line runs down a woman’s pale back, beginning in a mass of blonde hair, at the point where the head curves coyly away from sight. Jo Ann Callis created the composition as part of a body of work exploring and expanding the notion of fetish. Evoking a sensory response, the woman’s back tenses with the texture of the bones visible beneath. The delicateness of the uncovered back evokes an even stronger sense of intimacy when the eye slowly moves down the thin line. When Callis drew the line down her back, she thought not only of the image, but also of the subject’s experience, thinking of what kind of sensations arise with the touch of the pen’s smooth gesture moving down the naked back. 

Jo Ann Callis,  Woman with Blond Hair, 1977

Jo Ann Callis, Woman with Blond Hair, 1977

In both the hair and the line running down the back, the sense of splitting is omnipresent. The slit, suggestive in its form, insinuates what lays just below the frame of the composition. Insinuating a strong sense of sexual intimacy, Woman with Blond Hair, 1977 evokes the fascination of fetish through what is both visually present and implied.

ROSEGALLERY presents PhotoGRAPHIC: The Life of Graciela Iturbide

Added on by ROSEGALLERY.

ROSEGALLERY presents PhotoGRAPHIC, an exhibition of the upcoming graphic novelPhotoGRAPHIC: The Life of Graciela Iturbide, published by the J. Paul GettyAccompanying works by the legendary photographer, ROSEGALLERY will present the novel in its entirety, with original drawings by Zeke Peña and prose by Isabel Quintero. Photographs, illustrations and prose come together to illuminate the artistic power of Iturbide’s life and work.

Presenting the multifaceted manifestations of her story, the exhibition will run from 8 September 2017 until 21 October 2017, with a public opening on the 8th of September. 

Just as in the graphic novel about her life, Graciela Iturbide’s work exists at the intersection of captivating imagery and poetic language. Born in Mexico in 1942, Iturbide studied photography under the Mexican icon Manuel Álvarez Bravo, a contemporary of Tina Modotti, Frida Kahlo and Diego Rivera. With the uniqueness of her own eye, Iturbide captured her surroundings in intimate and empowering expressions. Often highly metaphorical, Iturbide’s photographs visually and poetically connect her own surroundings with a deeper understanding of the world. 

Told through text, illustrations and Iturbide’s photographs, Photographic: The Life of Graciela Iturbidedelves into Iturbide’s history and photographic works with the guiding vision of the artist herself. From the Sonora Desert to Juchitán, India and the American South, the graphic novel tells of Iturbide’s explorations throughout the world, all caught through the lens of her camera. In the beginning pages of the graphic novel, it states, “Graciela Iturbide is a photographer. She is an icon. Orgullo mexicano. Maestra.” With her masterfully crafted photographs, Iturbide proves each title true. Iturbide’s exploration of often overlooked and eclectic subjects brings a range of perspectives to her work and her own story. Each image transcends the border between reality and myth. Birds come to her through many of her dreams and often reappear in flight in her photographs, tracing a line through her imagination and her world in the poetic language of their collective motion. Following the trail of birds on the walls of PhotoGRAPHIC, one may glimpse into the rhythm of Iturbide’s vision as her story unfolds.

image credit: Pages from Photographic: The Life of Graciela Iturbide © 2018 J. Paul Getty Trust, www.getty.edu/publications . Text © Isabel Quintero, illustrations © Zeke Pefia, photographs © Graciela Iturbide.