Bøger af Graciela Iturbide

Iturbide revisits the predominantly Mexican American community of Boyle Heights in East Los Angeles, home of the legendary White Fence gangUnder the gaze of famed Mexican photographer Graciela Iturbide, this project vividly portrays the lives of several residents of the Chicano community in Boyle Heights, located in Eastside Los Angeles. The title refers to the historical street gang known as White Fence that has held established territory in Boyle Heights since 1900. They were one of the most violent Eastside gangs of the 20th century and among the first to use weapons.Starting with the photographs that Iturbide took in 1986 on assignment for the magazine A Day in the Life of America and culminating in a reunion in 2019, this publication is divided into two volumes, housed in a slipcase. The first book presents the series of images captured in 1986, 1989, 2018 and 2019. The second volume includes the essay White Fence Revisited by Alfonso Morales Carrillo describing both the development of this photographic series and the historic background it ultimately conveys: the formation and persistence of communities of Mexican descent north of the Rio Grande. White Fence is an emotional visual journey through decades of history: an intimate exploration of identity that connects the past and present of this fascinating community in Los Angeles.Graciela Iturbide was born in 1942 in Mexico City. Her photographic documentation of Indigenous tribes of Mexico resulted in the publication of her book Juchitán de las Mujeres in 1989. Between 1980 and 2000, Iturbide continued to gain international recognition and was invited to work in various places, including Cuba, East Germany, India, Madagascar, Hungary, France and the United States.

An oblique and intimate exploration of the photographer's eyeGraciela Iturbide (born 1942), a winner of the 2008 Hasselblad Foundation Award, has been acclaimed as one of Latin America's greatest photographers for her photographic exploration of her native Mexico's landscapes and inhabitants in stark black and white. In her latest publication, Mi Ojo, Iturbide presents a mysterious personal selection of her black-and-white photographs, an oblique exploration of that elusive thing that can make or break an image--the photographer's eye. Using silver ink on black cardboard to print her images, Iturbide pushes the limits of what a photograph can be, creating images with the look of high-contrast negatives that draw out the intrinsic strangeness of the photographs. Designed in a small, intimate format and published in a limited edition of 1,500 copies, Graciela Iturbide: Mi Ojo will appeal to photobook lovers and connoisseurs of the photographer's work.

From February to May 2022, the Fondation Cartier pour l'art contemporain will present a major exhibition of Graciela Iturbide, one of Latin America's most emblematic photographers. Working mainly in black-and-white in her native country, Mexico, Graciela Iturbide is interested in the cohabitation between ancestral traditions and Catholic rites, as well as in man's relationship with death. She also dedicates an important part of her work to women and their roles within their social environment. In recent years, her photographs have turned empty of all human presence, revealing the strong bond that unites her with things, nature, and animals. Through more than 200 photographs, the exhibition presents Graciela Iturbide's most iconic works and an important selection of unreleased photographs, as well as a series of color photographs specially commissioned by the Fondation Cartier, revealing a sensitive, poetic, and humanistic work. The book accompanying this "portrait" exhibition offers an exploration of Graciela Iturbide's work and personal universe. It brings together all the works presented at the Fondation Cartier, as well as an interview with the photographer by French essayist Fabienne Bradu, an original short story by Guatemalan writer Eduardo Halfon, and a photo-reportage of Iturbide's home and studio by Mexican photographer Pablo López Luz.