Posts Tagged ‘Lola Álvarez Bravo

09
Jul
21

Exhibition: ‘Underexposed: Women Photographers from the Collection’ at the High Museum of Art, Atlanta

Exhibition dates: 17th April – 1st August 2021

Curator: Sarah Kennel with Maria Kelly, curatorial assistant for photography

 

 

Paula Chamlee (American, born 1944) 'Nude Collage #1' 1998

 

Paula Chamlee (American, born 1944)
Nude Collage #1
1998
Gelatin silver print
7 ¾ x 9 ½
Gift of Lucinda W. Bunnen for the Bunnen Collection
© Paula Chamlee

 

 

Paula Chamlee’s work stretches beyond the realm of straight photography and into assemblage, painting, and drawing. This collage was inspired by photocopies of prints that her husband, the late photographer Michael A. Smith, intended to share with a prospective collector. Because the photographs’ dimensions did not match with that of the copy machine, the images required cropping and taping. Intrigued by the nature of these cast-off bits piled together and the relationship of the parts to the whole, Chamlee created this collage by piecing together images of her body that Smith had taken.

 

 

Out of energy this weekend with all that is going on with being made redundant at the University. Physically and emotionally drained. Apologies.

So just two words… more please!

Marcus

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Many thankx to the High Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

For nearly all of photography’s one hundred eighty-year history, women have shaped the development of the art form and experimented with every aspect of the medium.

Conceived in conjunction with the centennial of the passage of the Nineteenth Amendment, which granted suffrage for some women, this exhibition showcases more than one hundred photographs from the High’s collection, many of them never before on view, and charts the medium’s history from the dawn of the modern period to the present through the work of women photographers.

Organised roughly chronologically, each section emphasises a distinct arena in which women contributed and often led the way. Among the artists featured are pioneers of the medium such as Anna Atkins as well as more recent innovators and avid experimenters, including Betty Hahn, Barbara Kasten, and Meghann Riepenhoff. The exhibition also celebrates the achievements of numerous professional photographers, including Berenice Abbott, Margaret Bourke-White, and Marion Post Wolcott, who worked in photojournalism, advertising, and documentary modes and promoted photography as a discipline.

The exhibition also highlights photographers who photograph other women, children, and families, among them Sally Mann, Nan Goldin, and Diane Arbus, and those who interrogate ideals of femininity through self-portraiture. Also on view will be works by contemporary photographers who challenge social constructions of gender, sexuality, and identity, including Zanele Muholi, Sheila Pree Bright, Cindy Sherman, Mickalene Thomas, and Carrie Mae Weems.

 

 

 

Underexposed B roll

 

Mickalene Thomas (American, born 1971) 'Les Trois Femmes Deux' 2018

 

Mickalene Thomas (American, born 1971)
Les Trois Femmes Deux
2018
Dye coupler print
High Museum of Art, Atlanta. purchase with funds from the Friends of Photography

 

 

Mickalene Thomas creates vibrantly layered artworks that reclaim iconic images to centre Black female subjectivity in the history of art. A direct response to Edouard Manet’s Luncheon on the Grass, this photograph transposes the scene of three White figures having a picnic in a park to an interior view of three exquisitely coiffed and adorned Black women (including Thomas’s partner at right) gazing directly and confidently at the viewer. The colourful, wood-panelled living room, complete with fake plants and mismatched African textiles, evokes Thomas’s 1970s childhood and the aesthetics of Blaxploitation cinema, known for its audacious, dangerous, and sexually confident gun-toting heroines.

 

 

This spring, the High Museum of Art will present “Underexposed: Women Photographers from the Collection” (April 17 – August 1), an exhibition featuring more
than 100 photographs from the Museum’s collection, including many that have never before been exhibited. The artworks demonstrate the notable contributions of women throughout the history of photography, spanning from innovators of the medium to contemporary practitioners who investigate the intersections of photography, representation and identity.

Originally conceived in conjunction with the centennial of the passage of the 19th Amendment, “Underexposed” pays homage to the work of women who have pioneered and championed the art of photography, from its earliest days through today. The exhibition is arranged roughly chronologically and showcases distinct arenas in which women photographers flourished and often led the way: as professionals working across multiple genres; as avid experimenters pushing photography into new directions; as teachers and patrons who supported the growth of the medium; and as creative, critically engaged artists exploring such issues as gender, identity and politics.

“With this exhibition’s focus on women photographers, ‘Underexposed’ highlights a trajectory of participation and influence extending from the earliest days of photography to a leading role in defining the medium today,” said Rand Suffolk, the High’s Nancy and Holcombe T. Green, Jr., director.

Sarah Kennel, the High’s Donald and Marilyn Keough Family curator of photography, added, “Focusing on the last 100 years, this exhibition highlights how women have embraced photography as a powerful form of professional and creative expression. In bringing together pioneers of the medium with artists who reflect critically on photography’s capacity to shape and challenge concepts of gender and identity, we have an extraordinary opportunity to expand the history of photography and bring greater recognition to the many women who have contributed to and led the field.”

The exhibition opens with a selection of work by artists who transformed the practice of photography from the 1920s through the 1950s. Coinciding with the global rise of the feminist ideal of the “New Woman” in the late 1900s, practitioners including Ilse Bing, Margaret Bourke White, Dorothea Lange and Imogen Cunningham emerged as savvy leaders in the fields of  documentary, fashion and fine art photography. The exhibition continues with a section focused on artists who have experimented with photographic technologies and alternative processes to redefine the expressive and material limits of the medium. Works made in the 1970s and 1980s by artists including Barbara Kasten, Olivia Parker and Sheila Pinkel join pieces by contemporary makers, such as Meghann Riepenhoff and Elizabeth Turk, who continue to expand the language of photography.

The second half of the exhibition explores how women photographers have used photography to reflect on and interrogate the personal, social and cultural dimensions of gender and identity. Works by Diane Arbus, Nan Goldin, Susan Meiselas, Anne Noggle and Clarissa Sligh reveal different ways women have looked at and photographed other women. Similarly, works by Sheila Pree Bright, Sandy Skoglund and Susan Worsham deconstruct ideas around domesticity and feminine ideals. The exhibition closes with a selection of portraits and self-portraits by Judy Dater, Zaneli Muholi, Cindy Sherman, Mickalene Thomas and Carrie Mae Weems, among others, that explore the intersections of photography, representation and identity.

“Underexposed: Women Photographers from the Collection” will be presented on the lower level of the High’s Wieland Pavilion. This exhibition is curated by Sarah Kennel with Maria Kelly, curatorial assistant for photography.

Press release from the High Museum of Art

 

Anna Atkins (British, 1799-1871) 'Mauritius, from Cyanotypes of British and Foreign Flowering Plants and Fern' 1851-1854

 

Anna Atkins (British, 1799-1871)
Mauritius, from Cyanotypes of British and Foreign Flowering Plants and Fern
1851-1854
Cyanotype
10 1/8 x 7 15/15 inches
Gift in honour of Edward Anthony Hill

 

Doris Ulmann (American, 1884-1934) 'Studious Girl, Fleischman Relative' before 1931

 

Doris Ulmann (American, 1884-1934)
Studious Girl, Fleischman Relative
before 1931
Platinum print
Purchase

 

 

Doris Ulmann began her photographic career while attending the Clarence H. White School of Photography in New York – the first art photography school in the United States. There she worked in the Pictorialist tradition, embraced the “painterly” qualities of soft focus, and manipulated surfaces. After undergoing a major surgery, Ulmann decided to pursue her interest in people “for whom life had not been a dance.” She began traveling throughout the southeastern United States documenting the folk traditions and people of the Appalachian Mountains. She made several sun-dappled portraits of this young girl (identified on other prints as “Kreiger girl”) in and around Berea, Kentucky.

 

Ilse Bing (American, born Germany, 1899-1998) 'Self-Portrait in Mirrors' Paris, 1931

 

Ilse Bing (American, born Germany, 1899-1998)
Self-Portrait in Mirrors
Paris, 1931, printed c. 1941
Gelatin silver print
High Museum of Art, Atlanta
Purchase with funds from Georgia-Pacific Corporation

 

Berenice Abbott (American, 1898-1991) '"El" Station Interior, Sixth and Ninth Avenue Lines, Downtown Side' 1936

 

Berenice Abbott (American, 1898-1991)
“El” Station Interior, Sixth and Ninth Avenue Lines, Downtown Side
1936
Gelatin silver print
10 3/8 x 13 3/8
Purchase with funds from a Friend of the Museum

 

 

A towering figure of photography, Berenice Abbott learned the craft while assisting artist Man Ray in Paris. By 1926, she had established her own portrait studio, capturing the leading cultural icons of the day. She also befriended French photographer Eugène Atget and became his tireless champion, even rescuing many of his negatives after his death. After returning to New York in 1929, Abbott spent the next decade working on a major project documenting the rapidly transforming cityscape, which she published in the 1939 book Changing New York, produced with her partner, art critic Elizabeth McCausland. Although known for her urban views, in the 1950s, Abbott started working with Massachusetts Institute of Technology to explore the potential for photography to illustrate scientific principles and phenomena, as shown in this picture.

 

Lola Alvarez Bravo (Mexican, 1903-1993) 'Frida looking into mirror' 1944

 

Lola Alvarez Bravo (Mexican, 1903-1993)
Frida looking into mirror
1944
Gelatin silver print
8 3/4 x 7 1/4 inches
Purchase with funds from Margaretta J. Taylor
© Lola Alvarez Bravo/Artists Rights Society (ARS), New York

 

Doris Derby (American, b. 1939) 'Grass Roots Organizer, Mississippi' 1968

 

Doris Derby (American, b. 1939)
Grass Roots Organizer, Mississippi
1968
Gelatin silver print
Purchase with funds from Jeff and Valerie Levy

 

 

Dr. Doris Derby is an educator, anthropologist, and photojournalist based in Atlanta. In the 1960s and 1970s, she was an active member of the Student Nonviolent Coordinating Committee (SNCC), the Mississippi Freedom Democratic Party, and the Adult Literacy Project. Derby’s photographs reflect her interest in and concern for the role of poor, disenfranchised women during the movement. Many women had been fired from their jobs for registering to vote; in response, they built skill-based cooperatives and community groups that kept their families and communities together in very difficult times.

 

Diane Arbus. 'A family on their lawn one Sunday in Westchester, N.Y.,' 1968

 

Diane Arbus (American, 1923-1971)
A Family on the Lawn One Sunday in Westchester in June, 1968
1968, printed 1970
Gelatin silver print
14 3/4 x 15 inches
Purchase with funds from a friend of the Museum

 

Imogen Cunningham (American, 1883-1976) 'Magnolia Blossom' 1975

 

Imogen Cunningham (American, 1883-1976)
Magnolia Blossom
1975
Gelatin silver print
10 ¼ x 13 inches
Purchase with funds from a Friend of the Museum
© The Imogen Cunningham Trust

 

Joyce Neimanas (American, b. 1944) 'Daytime Fantasies' 1976

 

Joyce Neimanas (American, b. 1944)
Daytime Fantasies
1976
Gelatin silver print with applied colour
Gift of Lucinda W. Bunnen for the Bunnen Collection

 

 

For most of her career, Joyce Neimanas has created photographic images without directly using a camera, choosing instead to make complex collages and photograms of found imagery derived primarily from mass culture. In this work, Neimanas enlarged and printed a still from a 16 mm pornographic film to which she applied colour and annotated with text drawn from the controversial Kinsey Report on Sexual Behavior in the Human Female (1953). Made at a time of expanded conversation around gender, feminism, and sexual liberation, this work explores and challenges conventional representations of women’s sexuality.

 

Cindy Sherman (American, b. 1954) 'Untitled' 1979

 

Cindy Sherman (American, b. 1954)
Untitled
1979, printed 1989
From the Untitled Film Stills series
Chromogenic print
Gift of Lucinda W. Bunnen for the Bunnen Collection

 

 

Cindy Sherman has used self-portraiture as a strategy to interrogate representations of identity, gender, and mass culture. In her breakout Untitled Film Stills series, she photographed herself in varied guises inspired by generic Hollywood depictions of female characters: the bereft housewife, the sultry vamp, the wide-eyed ingénue. She challenges traditional understandings of photography and self-portraiture and exposes mass media’s constructed norms and ideas about femininity. Although she shot the original series in black and white as a nod to mid-twentieth-century B-grade black and white films, she also reprised the themes in colour works like this one.

 

Graciela Iturbide (Mexican, b. 1942) 'Magnolia, Juchitán, México' 1986

 

Graciela Iturbide (Mexican, b. 1942)
Magnolia, Juchitán, México
1986
Gelatin silver print
20 x 16 inches

 

Nan Goldin (American, b. 1953) 'Cookie and Sharon on the Bed, Provincetown, MA, Sept. 1989' 1989

 

Nan Goldin (American, b. 1953)
Cookie and Sharon on the Bed, Provincetown, MA, Sept. 1989
1989
Dye destruction print
Gift of Lucinda W. Bunnen for the Bunnen Collection

 

 

One of the most important photographers of her generation, Nan Goldin is an artist whose personal life is at the centre of her art. Her Cookie Portfolio documents her intimate friendship with Cookie Mueller. This photograph strikes a somber note as we see Cookie’s friend and lover Sharon sitting at the front of her bed, disconnected from a frail-appearing Cookie, who lies underneath her wedding picture. Cookie’s husband, Vittorio, died from AIDS the month this picture was made, and Cookie would die two months later. Despite the palpable loss sensed in the distance between the earlier and later works in the portfolio, Goldin conveys the steadfastness and tenderness of female friendship and support, which also infused her process: “I’m looking with a warm eye, not a cold eye. I’m not analysing what’s going on – I just get inspired to take a picture by the beauty and vulnerability of my friends.”

 

Sandy Skoglund (American, born 1946) 'Gathering Paradise' 1991

 

Sandy Skoglund (American, born 1946)
Gathering Paradise
1991
Dye coupler print
47 x 60 ½ inches
Gift of Mr. and Mrs. James L. Henderson, III

 

 

Like many of installation artist and photographer Sandy Skoglund’s surrealist views of domestic spaces, this macabre, pink-tinged scene of squirrels running riot across a patio suggests the frenetic anxiety that bubbles beneath the placid appearance of suburban life. Eschewing digital manipulation, Skoglund meticulously constructs room-size theatrical sets – in this case, complete with sculpted squirrels – which she then photographs. At once funny and unsettling, her photographs of everyday spaces invaded by a menagerie of fantastical animals reveal the nightmarish aspects of the American dream.

 

Judy Dater (American, born 1941) 'Self-Portrait on Deserted Road' 1982

 

Judy Dater (American, born 1941)
Self-Portrait on Deserted Road
1982
Gelatin silver print
14 ¼ x 18 ¼
Gift of Lucinda W. Bunnen for the Bunnen Collection

 

 

Over the course of her career, Judy Dater has primarily photographed women, including herself. This work is from a series she made during ten trips to national parks in the West between 1980 and 1983, where she photographed herself nude amidst the grandeur of nature. Seemingly stranded on an empty, endless road, she appears vulnerable and lost, but across the larger series, her photographs veer from savage self-examination to carefully constructed performances that explore identity, subjectivity, and femininity. One of the key influences on Dater’s photography is the work of Imogen Cunningham, who was also a close friend.

 

Barbara Kasten (American, b. 1936) 'Architectural Site 17' 1988

 

Barbara Kasten (American, b. 1936)
Architectural Site 17
1988
Dye destruction print
Support/Overall: 50 x 60 inches
Purchase

 

Sheila Pree Bright (American, born 1967) 'Untitled 13' 2006

 

Sheila Pree Bright (American, b. 1967)
Untitled 13
2006
From the Suburbia series
Dye coupler print, 49 1/2 inches
Gift of Sandra Anderson Baccus in loving memory of Lloyd Tevis Baccus, M.D.
© Sheila Pree Bright

 

Sheila Pree Bright (American, b. 1967) '#1960Now Ferguson protest: National March in Ferguson, "We Can't Stop" Mike Brown, Ferguson, MO, March 2015' 2015

 

Sheila Pree Bright (American, b. 1967)
#1960Now Ferguson protest: National March in Ferguson, “We Can’t Stop” Mike Brown, Ferguson, MO, March 2015
2015
From the series #1960Now
Gelatin silver print
Purchase with funds from the Friends of Photography

 

 

Sheila Pree Bright is one of Atlanta’s most prominent photographers working today. For the ongoing series #1960Now, she travels with and photographs the civic actions and protests of the Black Lives Matter movement. The title refers to the similarities between these contemporary protests and the civil rights movement and photography of the 1960s. The hashtag in the title refers to social media’s growing role in circulating images and defining current events. Here, two young girls and a little boy are at the forefront of a march in Ferguson, emphasising how the youth of today can be change makers for tomorrow.

 

Xaviera Simmons (American, born 1974) '10A Untitled' 2010

 

Xaviera Simmons (American, born 1974)
10A Untitled
2010
From the Utah series
Dye coupler print, 30 x 40 inches, 2010.21. Purchase with David C. Driskell African American Art Acquisition Fund. © Xaviera Simmons

 

Zanele Muholi (South African, born 1972) 'Zibuyile I (Syracuse)' 2015

 

Zanele Muholi (South African, born 1972)
Zibuyile I (Syracuse)
2015
Gelatin silver print
25 5/8 x 17 inches
Purchase with funds from the Donald and Marilyn Keough Family and the H. B. and Doris Massey Charitable Trust

 

 

Visual activist Zanele Muholi, whose personal gender pronoun is they, uses self-portraiture to address the politics of gender and race in the ongoing body of work Somnyama Ngonyama (which translates to “Hail, The Dark Lioness” from their mother tongue, Zulu). Muholi poses in locations around the world and incorporates everyday found objects such as props, costumes, and set dressing to build images that draw on their personal family history, consumer culture, and art history. In this photograph, Muholi addresses the viewer with a forceful, piercing gaze, challenging the conventional exoticised, othered, and sexualised depictions of Black female bodies.

 

Jill Frank (American, born 1978) 'everyone who woke up at the yellow house' 2016

 

Jill Frank (American, born 1978)
everyone who woke up at the yellow house
2016
Double sided inkjet print
High Museum of Art, gift of Louis Corrigan

 

V. Elizabeth Turk (American, born 1945) 'Calaeno' 2018

 

V. Elizabeth Turk (American, born 1945)
Calaeno
2018
Van Dyke print
High Museum of Art, Atlanta, purchase with funds from Lucinda W. Bunnen for the Bunnen Collection
© Elizabeth Turk

 

 

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04
Jul
12

Exhibition: ‘Photography in Mexico: Selected Works from the Collections of SFMOMA and Daniel Greenberg and Susan Steinhauser’ at the San Francisco Museum of Modern Art (SFMOMA)

Exhibition dates: 10th March – 8th July 2012

List of Photographers Included: Katya Brailovsky, Lola Alvarez Bravo, Manuel Alvarez Bravo, Manuel Carrillo, Alejandro Cartagena, Eduardo del Valle and Mirta Gomez, Pia Elizondo, Dave Gatley, Oscar Fernando Gomez, Héctor Garcia, Lourdes Grobet, Graciela Iturbide, Geoffrey James, Mark Klett, Pablo Lopez Luz, Elsa Medina, Susan Meiselas, Enrique Metinides, Pedro Meyer, Tina Modotti, Rodrigo Moya, Pablo Ortiz Monasterio, Paolo Pellegrin, Antonio Reynoso, Daniela Rossell, Mark Ruwedel, Victoria Sambunaris, Alec Soth, Paul Strand, Yvonne Venegas, Brett Weston, Edward Weston, and Mariana Yampolsky.

 

 

Manuel Alvarez Bravo. 'Obrero en huelga, asesinado' (Striking Worker, Assassinated) 1934 and 'La buena fama durmiendo' (The Good Reputation Sleeping) 1939

 

Manuel Alvarez Bravo (Mexican, 1902-2002)
Obrero en huelga, asesinado (Striking Worker, Assassinated)
1934
Gelatin silver print
19.2 x 23.8cm

Manuel Alvarez Bravo (Mexican, 1902-2002)
La buena fama durmiendo (The Good Reputation Sleeping)
1939
Gelatin silver print
20.3 x 25.4cm

 

 

“There is no one ‘Mexican photography,’ but one strand that runs throughout is a synthesis of aesthetics and politics. We see that with Manuel Alvarez Bravo, and we still see it in work made decades later.”

.
Jessica S. McDonald

 

 

One of my early heroes in photography was Manuel Alvarez Bravo whom I rate as one of the best photographers that has ever lived, up there with Atget and Sudek. His photograph Parabola optica (Optical Parable, 1931, below) lays the foundation for an inherent language of Mexican photography: that of a parable, a short allegorical story designed to illustrate or teach some truth, religious principle, or moral lesson. Many Mexican photographs tell such stories based on the mythology of the country: there are elements of the absurd, surrealism, macabre, revolution, political and socio-economic issues, also of death, violence, beauty, youth, sexuality and religion to name but a few – a search for national identity that is balanced in the photographs of Bravo by a sense of inner peace and redemption. This potent mix of issues and emotions is what makes Mexican photography so powerful and substantive. In the “presence” (or present, the awareness of the here and now) of Mexican photography there is a definite calligraphy of the body in space in most of the work. This handwriting is idiosyncratic and emotive; it draws the viewer into an intimate narrative embrace.

Two famous photographs by Bravo illustrate some of these themes (Apollonian / Dionysian; utopian / dystopian). When placed together they seem to have a strange attraction one to the other (see photographs above).

Unlike most Australian documentary photography where there is an observational distance present in the photographs – a physical space between the camera/photographer and the subject – Mexican documentary photography is imbued with a revolutionary spirit and validated by the investment of the photographer in the subject itself, as though the image is the country is the photographer. There is an essence and energy to the Mexican photographs that seems to turn narrative on its head, unlike the closed loop present in the tradition of Australian story telling. The intimate, swirling narratives of Mexican photography could almost be termed lyrical socio-realist. The halo of the golden child of Yvonne Venegas’ Nirvana (2006, below) menaced by the upturned forks is a perfect example.

Some of the themes mentioned above are evidenced in the photographs in this posting. Not the placid nude or heroic pyramid of Weston but the howl of the masked animal and surrealism of Our Lady of the Iguanas demands our close engagement. I only wish Australian photographers could be as forthright in their investigation of the morals and ethics of this country and our seemingly never ending search for a national identity (other than war, mateship, the beach, sport and the appropriation of Aboriginal painting exported as the Australian art “identity”).

Dr Marcus Bunyan

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Many thankx to SFMoMA for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Pablo Ortiz Monasterio. 'Y es plata, cemento o brisa' c.1985

 

Pablo Ortiz Monasterio (Mexican, b. 1952)
Y es plata, cemento o brisa
c. 1985
Gelatin silver print
8 9/16 in. x 12 3/4 in. (21.75 cm x 32.39cm)
Collection of Daniel Greenberg and Susan Steinhauser
© Pablo Ortiz Monasterio

 

Oscar Fernando Gómez. 'Untitled' from 'The Windows Series' 2008-2010

 

Oscar Fernando Gómez (Mexican, b. 1970)
Untitled from the series The Windows
2008-2010
Inkjet print
17 1/4 in. x 24 in. (43.82 cm x 60.96cm)
Collection of the San Francisco Museum of Modern Art
© Oscar Fernando Gómez

 

Enrique Metinides. 'Retrieval of a drowned body from Lake Xochimilco with the public reflected in the water' 1960

 

Enrique Metinides (Mexican, b. 1934)
Rescate de un ahogado en Xochimilco con público reflejado en el agua (Retrieval of a drowned body from Lake Xochimilco with the public reflected in the water)
1960
Gelatin silver print
13 3/4 x 20 3/4 in.
San Francisco Museum of Modern Art, Anonymous Fund purchase
© Enrique Metinides

 

Paolo Pellegrin. 'USA. El Paso, Texas. May 17, 2011. Two men, who illegally attempted to enter the U.S., run across the dry Rio Grande river back to Juarez, Mexico after being spotted by the US Border Patrol' 2011

 

Paolo Pellegrin (Italian, b. 1964)
USA. El Paso, Texas. May 17, 2011. Two men, who illegally attempted to enter the U.S., run across the dry Rio Grande river back to Juarez, Mexico after being spotted by the US Border Patrol
2011
Inkjet print
15 3/16 in. x 22 3/4 in. (38.58 cm x 57.79 cm)
Collection of the San Francisco Museum of Modern Art
© Paolo Pellegrin

Yvonne Venegas. 'Nirvana' from the series 'Maria Elvia De Hank' 2006

 

Yvonne Venegas (American, b. 1970)
Nirvana from the series Maria Elvia De Hank
2006
Inkjet print
19 1/2 in. x 24 in. (49.53 cm x 60.96cm)
Collection of the San Francisco Museum of Modern Art
© Yvonne Venegas

 

 

From March 10 through July 8, 2012, the San Francisco Museum of Modern Art (SFMOMA) will present the exhibition Photography in Mexico: Selected Works from the Collections of SFMOMA and Daniel Greenberg and Susan Steinhauser. Exploring the distinctively rich and diverse tradition of photography in Mexico from the 1920s to the present, the exhibition showcases works by important Mexican photographers as well as major American and European artists who found Mexico to be a place of great artistic inspiration.

Organised by SFMOMA Assistant Curator of Photography Jessica S. McDonald, the selection of more than 150 works draws from SFMOMA’s world-class photography holdings and highlights recent major gifts and loans from collectors Daniel Greenberg and Susan Steinhauser. The presentation reflects the collections’ particular strengths, featuring photographs made in Mexico by Tina Modotti, Paul Strand, and Edward Weston, along with works by key Mexican photographers including Lola Alvarez Bravo, Manuel Alvarez Bravo, Manuel Carrillo, Héctor Garcia, Lourdes Grobet, Graciela Iturbide, Enrique Metinides, Pedro Meyer, Pablo Ortiz Monasterio, and Mariana Yampolsky.

The exhibition begins with the first artistic flowering of photography in Mexico after the Mexican Revolution (1910-1920) and goes on to look at the explosion of the illustrated press at midcentury; the documentary investigations of cultural traditions and urban politics that emerged in the 1970s and 1980s; and more recent considerations of urban life, globalisation, and issues particular to the U.S.-Mexico border region. Rather than attempting to define a national style, the exhibition considers the range of approaches and concerns that photographers in Mexico have pursued over time. As McDonald notes, “There is no one ‘Mexican photography,’ but one strand that runs throughout is a synthesis of aesthetics and politics. We see that with Manuel Alvarez Bravo, and we still see it in work made decades later.”

As arts and culture flourished in Mexico after the Revolution, many European and American artists were drawn to the country. Among them were Edward Weston and Tina Modotti, who arrived in Mexico in 1923. Inspired by what they saw there, Weston and Modotti in turn motivated Mexican photographers to pursue the medium’s artistic possibilities; their influence helped “give Mexican photographers confidence that art photography was a viable path,” says McDonald. Hence, the exhibition opens with a selection of works made in Mexico by Modotti, Weston, his son Brett Weston, and Paul Strand during the 1920s and 1930s.

One of the Mexican photographers encouraged by Modotti and Weston was Manuel Alvarez Bravo, who went on to become one of the most influential photographers and teachers in the country’s history as well as a key figure in the broader international history of the medium. The exhibition features a substantial number of major works by the photographer, many of them donated or loaned to SFMOMA by Daniel Greenberg and Susan Steinhauser. In considering Alvarez Bravo’s career, the exhibition illuminates the birth and development of a tradition of art photography in Mexico. The presentation also includes a selection of works by Alvarez Bravo’s first wife, Lola Alvarez Bravo, an important photographer in her own right who established a successful commercial and artistic practice.

In mid-20th-century Mexico, as in the United States and Europe, earning an adequate income as an art photographer was an unlikely proposition. Instead, many photographers made a living through photojournalism, contributing to the numerous illustrated publications in circulation during this period. In the decades following the Revolution, there was great interest in traditional ways of life and in defining what it meant to be Mexican. Some photographers, such as Manuel Carrillo, created images documenting the nation’s traditions and celebrating its common people. Others, like Hector Garcia and Rodrigo Moya, rejected this sentimental approach, focusing instead on contemporary concerns and the political and social turbulence that continued to influence post-revolutionary Mexican life.

The late 1960s and 1970s saw the rise of critical theory and a new interest in investigating the nature of photography as a medium; in Mexico as elsewhere, there were more opportunities to study photography and to pursue noncommercial projects. A number of Mexican photographers, such as Lourdes Grobet, Graciela Iturbide, Pedro Meyer, and Pablo Ortiz Monasterio, created extended documentary series. Iturbide lived among indigenous people and recorded the details of their daily lives; Grobet focused on wrestling and the cultural concept of the mask; Ortiz Monasterio captured gritty, dystopian views of Mexico City. The exhibition draws extensively on gifts from Daniel Greenberg and Susan Steinhauser to represent directions in Mexican photography of the 1970s and 1980s.

Since the 1990s, the attention of many Mexican photographers has turned away from cultural traditions and rural landscapes and toward the cities and suburbs where many Mexicans now live. Works by Katya Brailovsky, Alejandro Cartagena, Pablo Lopez Luz, Daniela Rossell, and Yvonne Venegas reflect this interest in the changing social landscape, looking at issues of wealth and class, urbanization and land use, and the effects of the globalised economy. The exhibition closes with contemporary international photographers’ perspectives on U.S.-Mexico border issues. Images by Mark Klett, Victoria Sambunaris, and Alec Soth consider the border as landscape, while works by Elsa Medina, Susan Meiselas, and Paolo Pellegrin document the experiences of migrant workers and people trying, successfully or unsuccessfully, to cross into the United States.

 

About Daniel Greenberg and Susan Steinhauser

Based in Los Angeles, Daniel Greenberg and Susan Steinhauser have a deep and longstanding interest in Mexican photography, which they have been collecting since 1995. The photography department at SFMOMA has benefited greatly from their generosity: they have donated more than 175 works to the museum over the last six years. Their recent major gift of Mexican work, including over 50 photographs by Manuel Alvarez Bravo, Graciela Iturbide, and others, has created an ideal opportunity for SFMOMA to present this exhibition exploring photography in Mexico.”

Press release from SFMoMA website

 

Edward Weston. 'Pirámide del Sol, Teotihuacán' 1923

 

Edward Weston (American, 1886-1958)
Pirámide del Sol, Teotihuacán
1923
Gelatin silver print
7 9/16 x 9 1/2 in.
San Francisco Museum of Modern art, gift of Brett Weston
© 1981 Center for Creative Photography, Arizona Board of Regents

 

Alejandro Cartagena. 'Fragmented Cities, Juarez #2' from the series 'Suburbia Mexicana' 2007

 

Alejandro Cartagena (Mexican, b. 1977)
Fragmented Cities, Juarez #2
2007
From the series Suburbia Mexicana
Inkjet print
20 x 24 in.
San Francisco Museum of Modern Art, Accessions Committee Fund purchase
© Alejandro Cartagena

 

Lola Álvarez Bravo. 'Los gorrones' c. 1955

 

Lola Álvarez Bravo (Mexican, 1907-1993)
Los gorrones
c. 1955, printed later
Gelatin silver print
9 5/8 in. x 11 3/4 in. (24.45 cm x 29.85cm)
Collection of Daniel Greenberg and Susan Steinhauser
© 1995 Center for Creative Photography, The University of Arizona Foundation

 

Edward Weston. 'Tina Modotti, Half-Nude in Kimono' 1924

 

Edward Weston (American, 1886-1958)
Tina Modotti, Half-Nude in Kimono
1924
Gelatin silver print
9 5/8 x 4 11/16 in.
San Francisco Museum of Modern Art, Albert M. Bender Collection, Albert M. Bender Bequest Fund purchase
© 1981 Center for Creative Photography, Arizona Board of Regents

 

Lourdes Grobet. 'Ponzoña, Arena Coliseo' c. 1983

 

Lourdes Grobet (Mexican, b. 1940)
Ponzoña, Arena Coliseo
c. 1983
Gelatin silver print
14 x 11 in.
San Francisco Museum of Modern Art, gift of Jane and Larry Reed
© Lourdes Grobet

Graciela Iturbide (Mexican, b. 1942) 'La Nuestra Senora de las Iguanas, Juchitan, Oaxaca, Mexico' (Our Lady of the Iguanas, Juchitan, Oxaca, Mexico) 1979

 

Graciela Iturbide (Mexican, b. 1942)
La Nuestra Senora de las Iguanas, Juchitan, Oaxaca, Mexico (Our Lady of the Iguanas, Juchitan, Oxaca, Mexico)
1979
Gelatin silver print
17 5/16 x 14 7/16 in.
San Francisco Museum of Modern Art, gift of the artist
© Graciela Iturbide

 

Manuel Álvarez Bravo. 'Parabola optica (Optical Parable)' 1931

 

Manuel Alvarez Bravo (Mexican, 1902-2002)
Parabola optica (Optical Parable)
1931
Gelatin silver print
9 3/4 in. x 7 1/4 in. (24.77 cm x 18.42cm)
Collection of Daniel Greenberg and Susan Steinhauser
© Colette Urbajtel / Asociación Manuel Álvarez Bravo

 

 

San Francisco Museum of Modern Art (SFMOMA)
151 Third Street (between Mission + Howard)
San Francisco CA 94103

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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