Filtering by Tag: Graciela Iturbide

Graciela Iturbide in Upcoming 'America Latina 1960-2013'

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From November 19, 2013 to April 6, 2014, the Fondation Cartier pour l’art contemporain will present América Latina 1960-2013, coproduced with the Museo Amparo in Puebla (Mexico). The exhibition will offer a new perspective on Latin American photography from 1960 to today, focusing on the relationship between text and the photographic image. Bringing together more than seventy artists from eleven different countries, it reveals the great diversity of photographic practices by presenting the work of documentary photographers as well as that of contemporary artists who appropriate the medium in different ways. This unique presentation will provide the visitor with the opportunity to delve into the history of the region and to rediscover the works of major artists rarely exhibited in Europe.

Latin America : a Fascinating Region Over centuries, Latin America has fascinated observers as much as it has mystified them; there is a sense of the exotic that derives perhaps from it having once been perceived as a “new world.” Today, while contemporary Latin American culture has received much attention, the historical circumstances surrounding its production are often less widely explored. The exhibition América Latina will cover the period from 1960 – the year following the Cuban revolution – to today. In many Latin American countries, this period has been marked by political and economic instability, and has seen a succession of revolutionary movements and repressive military regimes, the emergence of guerilla movements as well as transitions toward democracy. By exploring the interaction between text and image in the art of Latin America over the course of the last fifty years, the exhibition provides a vivid look into this tumultuous period of history through the eyes of the artists.

Photography and Text in a Shifting World During the era covered by the exhibition, when the climate of political upheaval required an urgent response, many Latin American artists increasingly sought to escape media specificity by bringing text and image together in their work. This new visual approach provided them with an effective tool for expressing themselves and communicating, as photography is a medium that rapidly and realistically records reality while text provides a way of expanding or altering the meaning of the image. Through these formalistic inventions the artists tried to portray the complexity and violence of the world around them and in some cases to sidestep censorship. In the 1980s the Chilean artist Eugenio Dittborn created ‘‘airmail paintings’’ which were folded up and sent all over the world, circumventing Chile’s cultural isolation under Pinochet. As for Miguel Rio Branco, a figurehead of Brazilian photography, he has depicted the underclass of a two-tiered society in a highly poetic manner.

ARTISTS Elías ADASME (Chili), Carlos ALTAMIRANO (Chili), Francis ALŸS (Mexique), Claudia ANDUJAR (Brésil), Antonio Manuel (Brésil), Ever ASTUDILLO (Colombie), Artur BARRIO (Brésil), Luz María BEDOYA (Pérou), Iñaki BONILLAS (Mexique), Oscar BONY (Argentine), Barbara BRÄNDLI (Venezuela), Marcelo BRODSKY (Argentine), Miguel CALDERÓN (Mexique), Johanna CALLE (Colombie), Luis CAMNITZER (Uruguay), Bill CARO (Pérou), Graciela CARNEVALE et le Grupo de Artistas de Vanguardia (Argentine), Fredi CASCO (Paraguay), Guillermo DEISLER (Chili), Eugenio DITTBORN (Chili), Juan Manuel ECHAVARRÍA (Colombie), Eduardo Rubén (Cuba), Felipe EHRENBERG (Mexique), Robert FANTOZZI (Pérou), León FERRARI (Argentine), José A. FIGUEROA (Cuba), Flavia GANDOLFO (Pérou), Carlos GARAICOA (Cuba), Paolo GASPARINI (Venezuela), Anna Bella GEIGER (Brésil), Carlos GINZBURG (Argentine), Daniel GONZÁLEZ (Venezuela), Jonathan HERNÁNDEZ (Mexique), Graciela ITURBIDE (Mexique), Guillermo IUSO (Argentine), Alejandro JODOROWSKY (Chili), Claudia JOSKOWICZ (Bolivie), Marcos KURTYCZ (Mexique), Suwon LEE (Venezuela), Adriana LESTIDO (Argentine),Marcos LÓPEZ (Argentine), Pablo LÓPEZ LUZ (Mexique), Rosario LÓPEZ PARRA (Colombie), LOST ART (Brésil), Jorge MACCHI (Argentine), Teresa MARGOLLES (Mexique), Agustín MARTÍNEZ CASTRO (Mexique), Marcelo MONTECINO (Chili), Oscar MUÑOZ (Colombie), Helio OITICICA (Brésil), Damián ORTEGA (Mexique), Pablo ORTIZ MONASTERIO (Mexique), Leticia PARENTE (Brésil), Luis PAZOS (Chili), Claudio PERNA (Venezuela), Rosângela RENNÓ (Brésil), Miguel RIO BRANCO (Brésil), Herbert RODRÍGUEZ (Pérou), Juan Carlos ROMERO (Argentine), Lotty ROSENFELD (Chili), Graciela SACCO (Argentine), Maruch SÁNTIZ GÓMEZ (Mexique), Vladimir SERSA (Venezuela), Regina SILVEIRA (Brésil), Milagros DE LA TORRE (Pérou), Susana TORRES (Pérou), Sergio TRUJILLO DÁVILA (Colombie), Jorge VALL (Venezuela), Leonora VICUÑA (Chili), Eduardo VILLANES (Pérou), Luiz ZERBINI (Brésil), Facundo DE ZUIVIRÍA (Argentine)

To read more about this exhibition, please click here.

Graciela Iturbide: At Tate Modern

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Graciela Iturbide

Tate Modern, Photography, London, United-Kingdom Monday May 13, 2013 - Sunday May 11, 2014
Graciela Iturbide, Birds on the Pole, Guanajuato, Mexico, 1990
Photograph, gelatin silver print on paper Courtsey Jane and Michael Wilson

Graciela Iturbide is widely acknowledged as one of the most important photographers working in Mexico today. Beginning her photographic practice in 1969, Iturbide was mentored for many years by fellow Mexican photographer Manuel Álvarez Bravo before emerging from the independent photography movement of the 1970s.

The works in this room represent an overview of her practice over four decades. Her subject matter varies considerably, but her primary concern has always been the depiction of everyday life inMexico, exploring themes of urban and rural life, indigenous rituals, the role of women, identity and the tensions between tradition and modernity.

In contrast to the objectivity conventionally associated with documentary practice, Iturbide’s works often result from a strong mutual relationship between subject and artist. This type of exchange can be seen most clearly in Iturbide’s work in traditional rural communities, which is based upon her building longstanding relationships with local people.

In the southern Mexican region of Tehuantepec Isthmus, for example, she undertook a decade-long project in Juchitán, a small town known for its rare matriarchal social structure. Her stay produced some of her best-known images and culminated in the seminal photobook Juchitán of Women (1989). Although Iturbide produces the majority of her work in Mexico, this display also includes work from her more recent projects inIndia, Italy and the American states of Tennessee, Mississippi and Texas.

Graciela Iturbide was born in 1942 in Mexico City, where she lives and works.

Text courtesy of Art Limited

Tate Modern: Graciela Iturbide

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Graciela Iturbide

Tate Modern: Display
13 May 2013 – 11 May 2014

Graciela Iturbide Birds on the Pole, Guanajuato, Mexico 1990 Photograph, gelatin silver print on paper Courtesy of Jane and Michael Wilson
Graciela Iturbide is widely acknowledged as one of the most important photographers working in Mexico today.

Beginning her photographic practice in 1969, Iturbide was mentored for many years by fellow Mexican photographer Manuel Álvarez Bravo before emerging from the independent photography movement of the 1970s. The works in this room represent an overview of her practice over four decades. Her subject matter varies considerably, but her primary concern has always been the depiction of everyday life inMexico, exploring themes of urban and rural life, indigenous rituals, the role of women, identity and the tensions between tradition and modernity.

In contrast to the objectivity conventionally associated with documentary practice, Iturbide’s works often result from a strong mutual relationship between subject and artist. This type of exchange can be seen most clearly in Iturbide’s work in traditional rural communities, which is based upon her building longstanding relationships with local people. In the southern Mexican region of Tehuantepec Isthmus, for example, she undertook a decade-long project in Juchitán, a small town known for its rare matriarchal social structure. Her stay produced some of her best-known images and culminated in the seminal photobook Juchitán of Women(1989). Although Iturbide produces the majority of her work in Mexico, this display also includes work from her more recent projects inIndia, Italy and the American states of Tennessee, Mississippi and Texas.

Graciela Iturbide was born in 1942 in Mexico City, where she lives and works.

Please note, this is a two-part display. The display will be changed on 3 November 2013 for a new set of photographs which will be on view until 11 May 2014.

Curated by Simon Baker and Shoair Mavlian The Bryant Gallery

Part of Poetry and Dream, Level 2

Text courtesy of the Tate Modern

Aperture: New Graciela Iturbide Limited Edition Monograph With Print

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Vevey, Switzerland, 2009

Graciela Iturbide

Edition of 15 and no artist's proofs

Gelatin Silver Print

Image Size: 10-1/16 x 9-15/16

Paper Size: 14 x 11

Signed in ink on recto, signed and captioned in pencil on verso

Graciela Iturbide began to work as a photographer in the early 1960s, and was for a time Manual Álvarez Bravo’s pupil and assistant. One of the most important and prolific figures in Mexican photography, Iturbide is best known for her photographs of the country’s indigenous peoples living in small villages. Her portraits emphasize Mexicans’ connection to pre-Hispanic culture, and tell the story of a country and a culture in constant transition—from premodern to modern ways of working and socializing, and from rural to urban life. At the same time, however, she has made stunning pictures of the landscape in Mexico and beyond. This photograph, made in Switzerland in 2009, is evidence that Iturbide’s talent for capturing striking aspects of her environment transcends her initial focus on Mexico. Two gnarled branches sprout a fretwork of thinner stems that slash the pale-gray sky. Iturbide’s talent for black-and-white printing is emphasized by the leaves clinging intermittently to them: some are dark silhouettes, while others are picked out in detail by the light.

Graciela Iturbide’s work is included in museum collections the world over. She has won the W. Eugene Smith award, Grand Prize at Le Mois de la Photo, the Recontres d’Arles Award, and the Hasselblad Award and has been featured in numerous photobooks, including Mexican Portraits(Aperture, 2013).

Text courtesy of Aperture.

Graciela Iturbide in Bangladesh

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All Eyes On Dhaka

Chobi Mela VII begins

Mexican photographer Graciela Iturbide (centre) formally inaugurates the festival (top). The discussion panel featuring representatives from six continents (bottom). Photo Courtesy: Chobi Mela
Jamil Mahmud

The biannual international festival of photography, Chobi Mela VII, began with several exhibitions at the National Art Gallery of Bangladesh Shilpakala Academy (BSA) in Dhaka on January 25. The fortnight-long festival is featuring 35 exhibitions of photographers from 24 countries, including seven from Bangladesh. Apart from the exhibitions, the festival also includes artist's talk, book launch, mobile exhibition, workshops and seminars.

Followed by a procession that started from the National Museum premises, the opening ceremony was held at the newly built auditorium of BSA's National Art Gallery.

Veteran Mexican photographer Graciela Iturbide inaugurated the festival, claiming it a “special honour” for her.

Iturbide received the Lifetime Achievement Award for this year. The Lifetime Achievement Award was also conferred (posthumous) on the recently deceased Bangladeshi photographer Bijon Sarkar.

Terming Bijon Sarkar as “one of the unsung heroes of the photography movement in Bangladesh” and Iturbide as “one of the most influential photographers of our time”, Shahidul Alam, director of the festival, felt fortunate to be able to honour them.

Sarkar's work during the 1960s was remarkable not only for its nature but also the fact that the photographer worked in isolation in a medium that was yet to become popular in the country. His widow Mira Sarkar received the award.

Iturbide's photographs feature a strong combination of culture, rituals and everyday life in her native land. Her bold works try to explore relationships between people and nature.

Her solo exhibition, “Naturata”, being held at the Alliance Francaise de Dhaka (in Dhanmondi), as part of the festival, demonstrates Iturbide's signature style.

Representative photographers from six different continents -- Nii Obodai (Ghana), Pablo Bartholomew (India), Jody Haines (Australia), Ruth Eichhorn (Germany), Graciela Iturbide (Mexico) and Patrick Witty (USA) -- joined Shahidul Alam in a panel discussion. They talked about the ongoing trends in, the future and prospects of global photography and photojournalism.

Screening of a film on previous instalments of Chobi Mela, and video presentations from this year's festival were also part of the opening ceremony. But the main attractions were seemingly the exhibitions. Soon after the inaugural, people thronged the exhibitions at National Art Gallery.

“Fragility” is the theme of this year's festival and it was picked up from an online poll. According to the festival director, providing participating photographers a chance to focus on socio-political issues has always been the main concern of this international event.

The festival will continue till February 7. Chobi Mela was born in Bangladesh and has been held since 1997.

Text and image courtesy of  The Daily Star.

Vergara at New York Historical Society Museum

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The Dream Continues: Photographs of Martin Luther King Murals by Vergara

January 18, 2013 - May 05, 2013

Since the 1970s Camilo Vergara has been traveling across the United States photographing and thus documenting hand-painted murals of Dr. Martin Luther King Jr. as they appeared on the walls of establishments such as car repair shops, barbershops, and fast food restaurants in city streets and alley ways. The folk art portraits have expressed how the inner-city residents saw the slain civil rights leader—at times a statesman, a hero, a visionary, or a martyr. Vergara also discovered that these images were often based on iconic photographs of Dr. King but that, depending upon the neighborhood where they were created, the portraits could take on the likeness of Latinos, Native Americans, or Asians.

Camilo José Vergara , Untitled, 2009, Frederick Douglass at West 154 th Street, Harlem, New York.  Digital c-print. Collection of the artist.

Vergara remarked about his work that “most murals and street portraits of Dr. King are ephemeral. Paint fades, businesses change hands and neighborhood demographics shift. Gradually, images reflecting the culture and values of poor communities are lost….Often, my photographs are the only lasting record of these public works of art.” This exhibition offers the opportunity to study the manner in which Martin Luther King, Jr. has reached into the hearts of artists from New York to Los Angeles, Chicago to Detroit, and how the artists’s images have depicted the soul of the great civil rights leader in a manner that reaches out to communities nation-wide.

Camilo Vergara will donate all of the works in The Dream Continues: Photographs of Martin Luther King Murals by Vergara to the New-York Historical Society after the close of the exhibition. For more information on Camilo Vergara, visit his website.

Text courtesy of the New York Historical Society Museum and Library.

The Guardian: Graciela Iturbide

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Graciela Iturbide's best photograph: a Mexican Seri woman

'She's from a tribe of ex-nomads. I call her Angel Woman – she looks as if she could fly off into the desert'

This was taken in Mexico's Sonoran desert in 1979. I was working on a series about the Mexican Seri people for the ethnographic archive of theNational Indigenous Institute. I was in Punta Chueca, near the border with Arizona, for a month and a half. At the time, there were only 500 people in the community, and since there were so few, I had to have their agreement when it came to taking portraits. It was difficult to start with, but we soon got to know each other.

The Seris are former nomads. For me, this photograph represents the transition between their traditional way of life, and the way capitalism has changed it. For example, they were building their houses from bricks rather than sticks. I liked the fact that they were autonomous and hadn't lost their traditions, but had taken what they needed from American culture. They believed that money promoted inequalities and individualism, and did not want to become a divided society.

On the day of this particular image, I went with a group to a cave where there are indigenous paintings. I took just one picture of this woman during the walk there. I call her Mujer Ángel [Angel Woman], because she looks as if she could fly off into the desert. She was carrying a tape recorder, which the Seris got from the Americans, in exchange for handicrafts such as baskets and carvings, so they could listen to Mexican music.

When I got back from Punta Chueca, I developed my films and went through the contact sheets, but I didn't notice this photograph. Then my editor visited me and asked about it. I didn't remember taking it, which isn't something that normally happens to me: I always know what I have taken. That's what makes it my favourite photograph: a present from the desert that surprised me.

I went back to Punta Chueca to put on an exhibition of the series. The Seris were not impressed because the photographs are black and white, and they were used to being photographed by Americans with Polaroids. But in the end they did take their own portraits home, so they must have liked them


Born: Mexico City, 1942.

Studied: National University of Mexico's Film School.

Influences: Josef KoudelkaLola Álvarez BravoDiane ArbusChrister Strömholm.

High point: "Working every day and hoping to take better photographs."

Low point: "There hasn't been one. Being a photographer is like therapy for me."

Text and image courtesy of The Guardian

Graciela Iturbide at Barbican Art Gallery

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Everything Was Moving: Photography from the 60s and 70s

13 September 2012 — 13 January 2013

Graciela Iturbide, Panama City, 1974/ courtesy of Graciela Iturbide

This major photography exhibition surveys the medium from an international perspective, and includes renowned photographers from across the globe, all working during two of the most memorable decades of the 20th century. Everything Was Moving: Photography from the 60s and 70s brings together over 400 works, some rarely seen, others recently discovered and many shown in the UK for the first time.

It features 12 key figures including Bruce DavidsonWilliam Eggleston, David GoldblattGraciela Iturbide, Boris MikhailovSigmar Polke, Malick Sidibé, Shomei Tomatsu, and Li Zhensheng as well as important innovators whose lives were cut tragically short such as Ernest ColeRaghubir Singhand Larry Burrows.

The world changed dramatically in the 1960s and 1970s. From the Cultural Revolution to the Cold War; from America’s colonialist misadventure in Vietnam to the indelible values of the civil rights movement; this was the defining period of the modern age. It also coincided with a golden age in photography: the moment when the medium flowered as a modern art form.

Everything Was Moving: Photography from the 60s and 70s presents some of the most inspiring voices in 20th century photography, in order to reflect on the world then – and now.

Text courtesy of Barbican Art Gallery

le ombre el cielo: Graciela Iturbide

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Mexico seems to be some sort of breeding house for amazing artists, so Graciela Iturbide is a Mexican photographer born in 1942, the eldest of thirteen children. She took to photography after the death of her daughter in 1970, when she went to study at the Centro Universitario de Estudios Cinematograficos at the Universidad Nacional Autonoma de Mexico and met her mentor, the teacher and cinematographer Manuel Alvarez Bravo. Inspired by the masters of black and white she began photographing daily life in Mexico City, Juchitán, Oaxaca and on the Mexican/American border. In 1979 a man approached her and asked her to photograph his village,  which she did eventually, an experience that shaped her as a feminist and also resulted in her first collection: “Mujer Angel”. Other famous collections are ”Señora de Las Iguanas” and ”A Day in the Life of America”. She has received numerous awards, has been exhibited worldwide and is a member of the Mexican Council of Photography.

Through the magnificent photography of Iturbide we come to understand the real and versatile Mexico as it is. It’s all about observing people and their cultural context. Urban, rural, indigenous, modern, this country is filled with contrasts and no one captures this better than her. Through her images we come to understand the secret realm of this country and its people, the church dominant but still never able to extinguish the power and rituals of the pre-Hispanic cultures that give Mexico such a mystic significance. Her exploration of identity, gender, sexuality, death and all that by simply photographing everyday life is unbelievably sharp and captivating. Graciela Iturbide’s personal journey through her homeland can become any viewer’s personal journey no matter where from because the issues she touches are universal. Her culture and human oriented photography has extended the concept of documentary photography and remains one of the most potent in visual strength and beauty influencing lots of young photographers today.

Image and text courtesy of le ombre el cielo

hay tiempo (there is time): Graciela Iturbide

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Take a poetic journey with Mexican photographer Graciela Iturbide as she imparts the personal and cultural themes that inform her artistic vision and thread throughout her work. Filmmaker Alejandro Gómez de Tuddo follows Iturbide as she reveals her heart--from the religious legends she holds dear; to her regard for the dead "angelitos" or little angels of the cemetery; and her esteem for the virtues of St. John of the Cross's Solitary Bird: he flies only at great heights, tolerates no one's company, juts out his beak into the wind, and sings gently. In Spanish with English subtitles.

Directed by Alejandro Gómez de Tuddo, 2007.

Text and video courtesy of The J. Paul Getty Museum

Graciela Iturbide — RM/ Museo Amparo Monograph

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Since 1975, Graciela Iturbide (born 1942) has been esteemed as one of Latin America’s most important photographers. In 2008 she won the Hasselblad Award, the world’s most prestigious prize in the field of photography. Accompanying a 2012 exhibition at the Museo Amparo en Puebla in 2012, for which the photographer made an exhaustive trawl of her archive, this beautifully printed volume juxtaposes a trove of previously unpublished photographs with reproductions of contact sheets of some of Iturbide’s best-known images. The book is accordingly divided into two sections separated by a double binding. The first groups her works into four themes that have endured in her work from the very beginning--children, rituals, urban spaces and gardens. The second section is comprised of the contact sheets of her well-known OaxacaBirds and L.A.series.

Image and text courtesy of Artbooks

Graciela Iturbide

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Article and image courtesy of La Lettre
Text by Christian Caujolle

After last year’s Argentine theme, this year the Rencontres de la Photographie d’Arles will feature Mexico as well as an ambitious exploration of the image and the internet. This focus on a country whose rich photographic history began after the revolution in 1910 with such names as Manuel Alvarez Bravo in addition to such foreigners as Edward Weston, Tina Modotti, Paul Strand, Henri Cartier-Bresson or Hugo Brehme, was almost canceled. It was part of the annual cultural fair “The Year of Mexico in France” that was canceled following President Sarkozy’s irresponsible and vexing comments taking up the cause of Florence Cassez, condemned for 60 years imprisonment for kidnapping. But the combined efforts of the Mexican Televisa Foundation and the French Foreign Ministry of Cultural Affairs allowed the essence of this festival – if no others – to survive.

In the panorama that leads from the Revolution to today, one figure stands out, a part of photographic history, winner of the prestigious W. Eugene Smith and Hasselblad Foundation prizes, and certainly most characteristic above all of what might be considered “Mexican photography”. Her name is Graciela Iturbide.

This former film student turned to photography in 1970 when she became the assistant, and friend until the end, of Manuel Alvarez Bravo, an emblematic Mexican photographer and one of the inventors, alongside Kertèsz, Cartier-Bresson, Brassaï and Bill Brandt, of modern photography. It is at his side that she learned, beyond any technical approaches, to use a rare sense of freedom and vision similar to the “magic realism” that became the basis of contemporary Latin American literature. She would very naturally approach native groups, among others the Huicholes musicians whose violins cry to the bottom of the soul, and the inhabitants of the Sonora desert. One picture could tell the story of these unreal moments: seen from behind, a woman dressed in a long black veil walking toward the desert carrying a radio cassette in her right hand. But the photographer who took procession scenes or Carnaval with a tender eye, sometimes amused, who took pictures of things we would otherwise doubt, who renewed a photography that could have otherwise remained anecdotal or ethnographic, didn’t forget the city. A worrisome man walking with a mirror in the street shakes up his surroundings, a child playing with a gun, a woman walking with her child, dead or alive, protecting him with her veil, the wind blowing through the fabric.

Gabriela Iturbide’s great work, however, of these Mexican years, was built in a unique place, on the wind stricken grounds of the Zapotèque de l’isthme de Tehuantepec, the narrowest stretch of Mexico. Juchitan is a matriarchal city. The men fish and work the land while the women keep everything running. Family life, celebrations, fights and demonstrations. Strong women who bonded with Iturbide who admirably captured their intense conversations, their walks, and the swinging dances that kept their colorful skirts spinning. That is where she took her now infamous portrait, Notre Dame des Iguanes, of a woman wearing the animals on her head she was preparing to sell at the market. Surrealism was omnipresent (Breton had declared Mexico the country where surrealism was a daily reality), intensified by the surprises of reality. In this singular world, Graciela had a particular fondness for the transvestites who, adored by the women, lived peacefully in this matriarchal society devoid of male chauvinism. Her series of portraits of “Magnolia” are devoid of voyeurism and full of a rare tenderness for a subject most often treated with vulgarity. Even the animals, including the chickens, were pretexts for tender photos, the poetry of daily magic, even when, in a tight crop, the feathers would blend with skirt fabrics.

This poetic approach to the world can be seen in uncountable pictures of birds taken in her country, and during her numerous travels to India or Italy, that she gathered together in a book hovering between beauty and worry. When the birds became too cumbersome and invasive, her crop was worrisome, but always light, untouchable.

In one of the most recent series, she continues to treat with scathing sensitivity, in a succession of medium format pictures, the tension between reality and the inner world. Closer to home, in the South of Mexico, the Coyoacan region was also home to Leon Trotsky where he was assassinated, and Frida Kahlo’s Blue House. After the artist’s death, Diego Rivera hid, behind a door in the bathroom that he walled up, the personal objects and archives of the woman who was his muse and with whom he lived a tumultuous passion. It wasn’t until 2004 that over 24,000 documents were discovered including manuscripts, letters, prints by Man Ray or Tina Modotti as well as posters representing Stalin or revolutionary literature. They also included clothing and her infamous corsets, indispensable objects that allowed Frida to stand straight, resembling torture instruments, evoking the pain she endured throughout her life following an accident. Graciela took pictures of them in natural light, turning them into a very moving portrait, simple, and tortuous. Visible too are, among other things, the photographer’s deformed feet in the tub, the self portrait of a woman who forever suffered the pain of losing her 6 year old daughter in 1970.

A self-portrait that reveals her generosity, her modesty, and the profound poetry of her unique work.

Graciela Iturbide: Les Rencontres d'Arles Photographie

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4 July - 18 September

Graciela Iturbide's photographs will be exhibited at the Espace van Goh Sud this summer for this year's photography festival in Arles, a Provençal city northwest of Marseilles. The festival aims to present patrons with a view of her career as a whole, from her time spent with the Seri Indians to her images of East Los Angeles.

According to an article in The Wall Street Journal, this year's festival expects to draw more than 73,000 people to their exhibitions in venues ranging from Roman ruins to Baroque churches. The festival's opening weekend will be filled with artist symposia, book signings and the openings of 47 exhibitions.

The article goes on to illustrate a few exhibitions (including Iturbide's) which they expect to be the highlights of the festival. Click here to read more about Les Rencontres d'Arles Photographie, and the featured exhibitions on the Wall Street Journal.

Graciela Iturbide: No Hay Nadie, There is No-One

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Photographs by Graciela Iturbide.

Text by Oscar Pujol.

La Fabrica, 2011.

Graciela Iturbide (born 1942) is Latin America's most internationally admired photographer, as her receipt of the 2008 Hasselblad Foundation award confirmed. Although she is best known for her serial portrayals of her native Mexico, one of Iturbide's most popular individual photographs is “Perros Perdidos” (or “Lost Dogs” ), an image of several dogs in silhouette on a rocky outcrop taken in India in 1998. Graciela Iturbide: No Hay Nadie/There Is No-Onereveals the Mexican photographer's extended explorations in (mostly) cities in the north of India--Varanasi, Delhi and Calcutta, as well as Bombay--over the past 13 years. Iturbide's black-and-white images are strikingly at ease with their subject matter, able to locate arrangements of objects, architectural outline and urban signage without ever lapsing into visual tourism.

Text courtesy of Artbook.

This book is scheduled to arrive in October 2011.

Graciela Iturbide. Retrospective (1969-2008) FUNDACIÓN MAPFRE y el Museo de Arte Moderno

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FUNDACIÓN MAPFRE y el Museo de Arte Moderno
se complacen en invitarlo
a la inauguración de la exposición:
Graciela Iturbide. Retrospectiva (1969-2008)
Viernes 1 abril 2011
19:00 horas
Museo de Arte Moderno
Paseo de la Reforma y Gandhi s/n
Bosque de Chapultepec

-- Marta Dahó Proyectos expositivos / Curatorial projects

C. Hercegovina 1, 4rt 3ª 08021 • Barcelona T. +34.935.275.808 M. +34.639.07.40.35