Filtering by Tag: Artist news

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.

pst_lala_horizontal_event_rgb.jpg

Read the entire article at kcet

See more Graciela Iturbide HERE.

Purchase Photographic: The Life of Graciela Iturbide in our shop

Provocative Things: A Profile & Interview with Jo Ann Callis

Added on by ROSEGALLERY.

In the early 1970s, Jo Ann Callis left Cincinnati, where she had grown up, for California. Some forty years later, FotoFocus brought her back. On February 24, 2016, she gave a lecture—really an annotated slide show of her work—at the Cincinnati Art Museum as part of its Lecture and Visiting Artist Series, and the following morning she spoke informally at some length to Aeqai, both conversations generously arranged through FotoFocus. After her evening presentation, as an unofficial part of the celebration of her homecoming, a group of Cincinnatians who had gone to Walnut Hills High School with her crowded around to swap stories and memories. (One was Louis Sirkin, the First Amendment lawyer who, some two decades after Callis left town came to prominence by defending the Contemporary Arts Center in the Mapplethorpe trial. Callis remembered him fondly: “We were in the same Chemistry class. But we never went out.”) Callis, a pioneer of color photography and a leader in the Fabricated Photograph movement of the 1970s and 80s, has some deep professional roots in Cincinnati, where one of her first solo shows was mounted by the Contemporary Arts Center in 1983. Looking over Cincinnati’s downtown revival the following morning, Callis was only moderately interested in how the city had changed in the intervening decades. She was eager to walk from her hotel to the Taft Museum and to renew her acquaintance with one thing you can get in the Midwest that she can’t see in California. “Oh good!” she said: “it’s snowing!”

Jo Ann Callis, “Woman Twirling” (1985)

Jo Ann Callis, “Woman Twirling” (1985)

Callis has been in the news for the 2014 publication of Other Rooms, an anthology of what she had originally called her fetish photographs from the mid-1970s, now sumptuously printed by Aperture with an introductory essay by Francine Prose. The work garnered much praise and raised some eyebrows. Callis’s sensibility might be described as a heady blend of the mischievous and the prim. At the Museum, she said of one of her photographs that “it looks like a bordello to me. Or what I imagine a bordello to be like.” Up till now, most people had thought of Callis’s oeuvre as being both elegant and mysterious, characterized by sparse, finely-staged photographs of rooms subject to questionable degrees of order and human control. In the title picture to her 1999 exhibition at the Getty “Woman Twirling” (1985), a woman spins close to the corner of a nearly empty room. She is little more than a skirt and a blur. In the foreground, a lamp sits on a small round table, its base made of carved wood, depicting a couple melting into each other in an embrace.  While the twirling woman might be celebrating, she seems in a frenzy. In her Museum talk, Callis calls attention to her “repetitive action”: this, she says, is a sort of “madness.” What exactly are we witnessing? Like a lot of Callis’s images, it borders on the political, raising questions about women’s roles in our culture and their responses to those roles. And like a lot of her images, it shares some of the wild logic of a dream. But if so, whose?

Jo Ann Callis, “Woman with Black Line” (1976-77)

Francine Prose, in her excellent introductory essay to Other Rooms, observes that Callis’s photographs are “rich in erotic possibilities,” though it is worth noting that this is not quite the same as saying that they are richly erotic. The pictures are smart and telling, but they are certainly not depictions of—or incitements to—pleasure. In speaking of her work, Callis begins by asserting her formalist credentials: “I wanted my pictures to be constructed formally, and to be kind of tight.” Francine Prose wonders “what is so erotic” about these photographs? What “about a dark line, like the seam of an old-fashioned stocking, drawn from the top of a woman’s head straight down the length of her spine?” Prose’s answer begins with imagining the sort of scenario of sexual play that produces such a mark: “it’s something the woman is unlikely to be able to do on her own….We wonder: at what point does a lover feel comfortable enough to say, Want to know what I really like?…At what point in the discovery of desire does a woman realize that is what she wants?” Callis explains a different sort of origin for the picture: “It started with the feeling of a bowling bowl on a pillow.” In describing “Hands on Ankles,” Prose asks “How many of us could have predicted that a pair of hands, grasping a woman’s ankles, could be as charged with emotion as hands joined in prayer, in this case before the altar of the woman’s shoes?” Callis explained that she was drawn to “the way the heels dug into the chair.” She values “that moment of a little tension” because “the hands make it precarious,” and then noted “I felt the shadows were good.” She is perhaps the opposite of another photographic formalist of the 1970s, Robert Mapplethorpe, who sought prurience everywhere but actually captured it only fitfully; Callis was uninterested in prurience and found signs of it all over.

Jo Ann Callis, “Hands on Ankles” (1976-77)

Jo Ann Callis, “Hands on Ankles” (1976-77)

For complete read please visit: AEQAI