Filtering by Category: Graciela Iturbide

This Upcoming Exhibition Highlights the Work of 116 Radical Latina & Latin American Artists

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Graciela Itrubide,  Nuestra Señora de las Iguanas ,  Juchitán, Mexico,  1979

Graciela Itrubide, Nuestra Señora de las Iguanas, Juchitán, Mexico, 1979

“Because the system’s so biased and so restrictive, so much wonderful art has [gone] completely unnoticed.” With these words, Cecilia Fajardo-Hill succinctly described the impetus for an upcoming exhibition – Radical Women: Latin American Art, 1960-1985 – at the Hammer Museum in Los Angeles. The last few decades has seen progress for female artists, but the art world hasn’t reached parity, with men still basking in the limelight far more often than women.

As LA Weekly notes, the Guggenheim dedicated 86 percent of solo shows to men in 2014. And between 2007 to 2014, the Tate Modern in London only featured female artists’ works in solo exhibitions a quarter of the time. Radical Women – which Fajardo-Hill and Andrea Giunta curated together – exclusively focuses on Latinas and Latin American women who US museums don’t typically feature. “The reason for this is not a question of talent, but of a patriarchal matrix placed on the history of Latin American and Latina art,” Fajardo-Hill tells LA Weekly. “In other words, the system was even more biased than we knew it to be.”

In 2010, When they began looking into this topic, the curators found themselves having to defend the need for an exhibit that closely looks at Latin American and Latina art. Detractors told them that only a select number of women were worth highlight. But they refused to buy into this misguided notion, finding instead, that these women’s stories are necessary to tell.

“We are looking at a lot of women that have been completely overlooked,” Fajardo-Hill told the Los Angeles Times. “These are women that have shaped how we understand contemporary art today, how we use our bodies, how we can think about our bodies at a conceptual level.”

For complete details, please visit, remezcla.

W. M. Hunt review Classic Photographs LA - The Eye of Photography

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"Classic Photographs Los Angeles is the comfort food of photography fairs: warm and satisfying, a kinder, gentler throwback to the hotel fairs of the early 1980’s." He had a yummy time.

Graciela Iturbide,  Casa de Frida Kahlo , 2003

Graciela Iturbide, Casa de Frida Kahlo, 2003

Lionel Wendt,  Untitled , c. 1930's

Lionel Wendt, Untitled, c. 1930's

Jo Ann Callis,  Untitled,  1975

Jo Ann Callis, Untitled, 1975

Of the photography dealers, booth layouts and prints mentioned, Hunt took notice to the color works on display in our booth.  "Surprising and unsurprising" were both the works of Jo Ann Callis and Graciela Iturbide.  Iturbide was invited to photograph Frida Kahlo's bathroom 50 years after her death.  The portfolio of 6 works in full technicolor are exquisite dye transfer prints.  Jo Ann Callis's vintage silver gelatin prints accompanied Iturbide, and Wendt.  Lionel Wendt was a Ceylon born musician, writer, critic, lawyer and photographer in the 1930s until his death in 1944.  He was a founder and member of the 43 Group, a salon style society of artists in Sri Lanka, whose creative efforts lead to great international success. 

Read his full commentary on the Classic Photographs Los Angeles HERE.

NYTimes - Graciela Iturbide and Manuel Álvarez Bravo surrealist themes discussed by Teju Cole

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Photography critic and author Teju Cole discusses the surrealist themes in the work of Mexican photographers Graciela Iturbide and Manuel Álvarez Bravo for the Sunday 23 October print magazine of the New York Times.

Graciela Iturbide, Jueves Santo, Juchitán, Oaxaca, 1986

"What makes an image surreal is not the artful crafting of illusion but the eruption of the accidental into the everyday.

Look at the photograph by Graciela Iturbide of a small child held on someone’s lap. The child is a boy, and the person holding him is his older sister. What is the first impression the photograph gives? It isn’t one of sweetness or innocence, but rather of a strangeness that is difficult to identify. The boy’s eyes are closed. His head is thrown back at what could be read as an unnatural angle, but could just as well be read as perfectly natural. Something seems not quite right. Is he sick? The composition recalls paintings or sculptures of the Pietà, where the Madonna carries the dead Christ. But here, the girl is too small, too fragile, to be a mother, and that peculiarity of scale is odd, too."

Manuel Álvarez Bravo, c. 1940's

"This talent for finding the surreal in the banal is one of the many ways in which Iturbide is influenced by Manuel Álvarez Bravo (1902-2002), her teacher and mentor. Drawing on the Mexican traditions that confront death, they both created densely poetic images. Look, for example, at Bravo’s photograph of a fallen sheet, made in the 1940s. By chance or by design, a white cloth rests on a tiled floor. This simple subject opens up a cascade of associations: the cloth looks like a shroud; its folds and bends appear to trace the contours of a human body; its placement on the ground makes you think of a corpse. This picture, an ancestor to the one Hernandez posted on Instagram, echoes another by Bravo, “Striking Worker, Assassinated” (1934), which shows a union leader lying in the street with a bloodied face moments after he was murdered. But what was raw photojournalistic reportage in the earlier picture is transformed into a different kind of strength in Bravo’s photograph of the fallen sheet. The dead man is an instance of death, but the sheet on the floor becomes Death itself."


Read the beautiful piece on and pick up a printed copy of the Sunday paper on 23 October, 2016.

Alicia Eler reviews HE/SHE/THEY for Aperture

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Alicia Eler writes, "Spanning over eighty years of photographs, an exhibition explores the gender non-conforming potential of the word 'they.'

Yasumasa Morimura, Jane Fonda 5 (Barbarella), 1995  © the artist and courtesy ROSEGALLERY

Lise Sarfati, Malaïka #7, Corner 7th Street and Spring, from the series On Hollywood, 2010  © the artist and courtesy ROSEGALLERY

The singular gender-neutral pronoun “they” was named word of the year in 2016. Judging from the social and historical depth of photography and archival imagery in the exhibition He/She/They, currently on view at ROSEGALLERY, which includes work by more than fifteen artists, it’s crazy to think that it took this long to get American culture at large to recognize life outside the gender binary. Ranging from the early 1930s to the present, the works exhibit a wide array of bodies, locations, gazes, and socioeconomic perspectives, and consider the intersectional influence of race and class on notions of gender.

Since this exhibition is presented in Los Angeles, Lise Sarfati’s Malaïka #7, Corner 7th Street and Spring from the series On Hollywood (2010), is appropriately local and captures a woman trying to make it in the entertainment industry. In this startling photograph, a young woman appears forlorn, perhaps returning from an audition, unsure of what to do next. The actress’s face, and the low-angle perspective, is reminiscent of Cindy Sherman’s Untitled Film Still #21 (1978), in which a young woman, who could be any (white) woman, looks intently beyond the frame, with an imposing block of skyscrapers forming the background. Marrying visual art and Hollywood icons, her dress and hairstyle reference Marilyn Monroe and the “dumb blonde” archetype.

Graciela Iturbide, Carnaval, Tlaxcala, Mexico, 1974  © the artist and courtesy ROSEGALLERY

...Other works in the show focus less on the performance of gender, and more on people who defy normative gender distinctions. Nineteenth-century photographs depict Native American “two-spirit” individuals—those who participate in gender roles not assigned to their sex—but the accompanying text explains that intersex, androgynous, and gender non-conforming people could be held in high regard outside of Eurocentric, heteronormative cultures. In photographs by Mexican artist Graciela Iturbide, Magnolia, who identified as Muxe (Zapotec for homosexual and “genderqueer”), poses for the camera wearing a dress and sombrero, a traditionally male accessory.

He/She/They leans heavily on the visual language of portraiture, which might suggest a desire for authenticity in documentation, in contrast to much of the dynamic content found online, where self-expression by social media sensations, celebrities, and everyday people appears to be constantly evolving. The photographs in this show offer a fixed moment in time, declarative and definitive, but also remain open to the many shades of identity, the gender non-conforming potential of the word “they.”

Alicia Eler is a journalist based in Los Angeles. A contributor to New York Magazine, The Guardian,VICE, LA Weekly, Hyperallergic, Art21, and Artforum, she is currently working on her first book,The Selfie Generation (Skyhorse).

He/She/They is on view at ROSEGALLERY, Santa Monica, through November 12, 2016."

Read the full review on!

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, photographing life as poetry on BBC news

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I always say my camera is a pretext for understanding life.
— Graciela Iturbide

Graciela Iturbide spoke with BBC while visiting Charlottesville, Virginia for the LOOK3 Festival of the Photograph.  "My intention is to look at life as if it were part of poetry.  I try to do something poetic in what I do, I try." Graciela's photography career began from her admirable relationship with Manuel Alvarez Bravo.  She shares:

Manuel Alvarez Bravo wasn’t just a teacher of photography, he was a teacher in my life. He taught me to appreciate music and literature. He showed me that everything around us can influence us. . . Thanks to him I became a photographer.

Graciela's exhibition Naturata will be on display until 22 July at Neal Guma Fine Art in Charlottesville, VA.  For more information visit

Watch the video interview with Graciela Iturbide on BBC HERE.

Graciela Iturbide participates in Look3 Festival in Charlottesville June 13 - 19

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Graciela Iturbide is participating in Look3 Festival in Charlottesville, VA this June 13 - 19.  In addition to her exhibition Naturata, Graciela will have an artist talk on 17 June at The Paramount Theater starting at 5PM with a book signing to follow.

"As a native and current resident of Mexico City, Graciela Iturbide uses photography to shine light on hidden corners of her country and other parts of Latin America. Equal parts documentarian and fine-art photographer, she has trained a lens on indigenous peoples of Mexico, birds, funerary rituals and her world travels. Evocative and surrealistic at times, her black and white images are textured yet sparse. Iturbide has published and exhibited extensively around the world since the 1980s. She has also won countless awards for her work, and is one of the most notable Mexican photographers in recent decades." -via


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Images (top to bottom) Graciela Iturbide, [Self Portrait], year unknown; Graciela Iturbide, Nuestra Señora de las Iguanas, Juchitán, 1979; Graciela Iturbide, Radiographiá de un pajaro, con Toledo, Oaxaca, Mexico, 1999.

Exhibition "REFUGEE" explores the lives of the dispersed and displaced at The Annenberg Space for Photography

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"Through images created by five internationally acclaimed artists, REFUGEE explores the lives of refugees from a host of diverse populations dispersed and displaced throughout the world. The exhibit features photographs taken in Bangladesh, Cameroon, Colombia, Croatia, Germany, Greece, Mexico, Myanmar, Serbia, Slovenia, and the United States."

Acclaimed artists Lynsey Addario, Omar Diop, Graciela Iturbide, Martin Schoeller and Todd Stoddart illustrates daily lives of refugees, from young children to adults, from all regions of the world, in this powerful and timely exhibition at The Annenberg Space for Photography in Los Angeles.

A rubber boat packed with refugees and migrants lands on the shoreline of Lesbos after successfully crossing the Aegean Sea from Turkey in 2015.  (Tom Stoddart)

A rubber boat packed with refugees and migrants lands on the shoreline of Lesbos after successfully crossing the Aegean Sea from Turkey in 2015.  (Tom Stoddart)

In addition to the exhibition is a documentary produced by Tiger Nest Films.  The documentary displays the photographers working on location for the exhibition.

REFUGEE is made possible in collaboration with the UNHCR, UN Refugee Agency, supplying logistical information, support and contact with refugees for the artists.

REFUGEE will be on view from 23 April through 21 August, 2016.  
Please visit for more details.