Filtering by Tag: Graciela Iturbide

The Sunlit Studio a Son Built for His Photographer-Mother

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By Luisita Lopez Torregrosa | New York Times Style Magazine

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ON A COLONIAL back street in historic Coyoacán, in central Mexico City, a three-story brick tower rises above the low-roofed adobe homes in a labyrinthine neighborhood. The fall afternoon’s fading light tinges the building’s facade — walls of porous bricks laid at right angles to let in air and light while shielding the interior from view — a burnt sienna. This is Studio Iturbide, the latest project by the Mexico City-based firm Taller / Mauricio Rocha + Gabriela Carrillo, who built it for Rocha’s mother, the photographer Graciela Iturbide, whose portraiture, most famously of weathered women in Oaxacan villages, is in the permanent collections of the Getty Museum in Los Angeles, the Centre Pompidou in Paris and the Brooklyn Museum.

The 75-year-old Iturbide is waiting at the doorway, diminutive, her black hair short and wavy, her complexion milky. “Mauricio will be here soon,” she says, as we enter her monolithic workspace, which is constructed of little more than red brick and wood-framed panes of glass. The architects created a hundred models before agreeing on the current design: three nine-foot-high, 300-square-foot rooms stacked atop one another, along with two interior bricked-in patios on the first floor furnished with clay pots of cacti and other regional plants, which offer the only visual disruption of the house’s earthen hues and exacting lines. Inside, the brick walls are adorned with little but the shadows of the day’s moving light.

Taking the broad wooden stairs, which are joined by invisible steel supports and appear suspended in midair, Iturbide walks us from the formal first-floor living room, with its Isamu Noguchi paper lantern and low, modernist sofa, past the casual second-floor family room and up to the top floor of the building. “This is my studio, where I work,” she says, her arms outstretched to take in the airy 16-by-19-foot space, lit by the sun coming in through two wall-size windows. Here, on a nine-foot-long oak table, Iturbide edits her photographs. Forty years of archives are stored in dozens of flat, black boxes on custom hardwood bookshelves that rise from either side of the table. “The interior space is very important for me and my work,” she says. “I need to be alone often.”

This is not the first time Iturbide’s son has made her a building: Across the street is her main house, a cream-colored adobe structure that Rocha built in 1991, when he was 25 and had just finished architecture school. In 2014, seeking more space (and freedom from her belongings), Iturbide purchased an empty lot and asked him to build on it. Her only condition was that it be made of brick: “What I wanted was to be tranquil in my studio,” she says. “I gave him total freedom.” The result, which took two years to complete, combines four kinds of brick — handmade in different dimensions in Puebla, a city known for its ceramics — with tzalam, a heavily grained hardwood brought from Mexico’s tropical south. Iturbide calls the building her “small factory of bricks.”

Continue reading at nytimes.com

Legendary Mexican Photographer Gets Her Own Graphic Novel

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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.

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Read the entire article at kcet

See more Graciela Iturbide HERE.

Purchase Photographic: The Life of Graciela Iturbide in our shop

Iconic Mexican Photographer Graciela Iturbide Comes to Light in 'A Lens to See'

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Graciela Iturbide’s  Autorretrato con los indios Seris, 1979

Graciela Iturbide’s Autorretrato con los indios Seris, 1979

As part of this year’s Fotoseptiembre, Ruiz-Healy Art will present “A Lens to See,” a solo exhibition of photography by Graciela Iturbide. 
The selections, gathered from the Wittliff Collections at Texas State University, one of the largest archives of contemporary Mexican photography, mark the first time Iturbide has been exhibited in a commercial gallery in Texas, and span a period from the early 1970s to 2006. Among the work are some of Iturbide’s most iconic photographs, including Our Lady of the Iguanas and Angel Woman in the Desert of Sonora, both of which depict the strength and dignity of indigenous women.

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Graciela Iturbide Featured on ART21 "Exclusive"

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ART21's series Exclusive discusses the work of artist Graciela Iturbide and her personal and artistic relationship to politics and inequality in Mexico.

"We have such wonderful traditions—such wonderful people," says Iturbide, who was close to leftist parties in Mexico. "But, it's very sad that there is so much social injustice."

From the ART21 Exclusive short released on 6 November 2015.

More about Graciela Iturbide.

Graciela Iturbide Accepts Cornell Capa Lifetime Achievement Award

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Image: Patrick McMullan

Image: Patrick McMullan

At last night's Infinity Awards, ROSEGALLERY artist Graciela Iturbide was honored by the International Center of Photography with the Cornell Capa Lifetime Achievement Award. Iturbide is the recipient of numerous prizes including W. Eugene Smith Memorial Foundation Award; the grand prize for the Mois de la Photographie in Paris; the Hugo Erfurth Award in Leverkusen, Germany; the International Grand Prize in Hokkaido, Japan; the Rencontres Internationales de la Photographie Award from the City of Arles, France; the Guggenheim Fellowship; the Hasselblad Award; and the National Prize of Sciences and Arts in Mexico City.

ICP Curator Pauline Vermare talks to Graciela Iturbide:

How long have you been a photographer?
Forty-six years.

What inspired your turn to photography?
I studied cinematography for two years and I was then fortunate enough to meet Manuel Álvarez Bravo. I went to his classes and when he asked me to be his assistant, the world opened up for me. I left film school and started working for him and that’s when I decided to become a photographer.

How do you use new technologies and social media in your work?
I don’t. I’m still working in analog formats with the notion of time that I learned from Álvarez Bravo. For me, the process is a ritual: going out to take photos, developing, choosing photos from the contact sheets, and afterwards choosing the series that I like.

What are you currently working on?
I’m always working on my archives, like I said, choosing photographs for different projects. I spent some time in Japan for a residency at the beginning of 2015 and that gave me the opportunity to photograph there. I have an upcoming exhibition in Chile in mid-May and I will travel to Spain in October.

What advice would you give to the new generation of photographers?
Always have passion and discipline.

A few words about ICP and its place in the world of photography?
I’m very fond of ICP. It has been an important center to learn about photography and to show the work of photographers from all over. I think it’s an obligatory reference in photography around the world.

For more info on Graciela you can visit her artist page, or check out this great retrospective of her work, available in our online bookstoreMany thanks to the International Center for Photography for the information provided in this article.