Nacho Lopez Photographer Of Mexico
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| Author | : John Mraz |
| Publisher | : U of Minnesota Press |
| Total Pages | : 249 |
| Release | : 2003 |
| Genre | : Biography & Autobiography |
| ISBN | : 9780816640478 |
Photographer Nacho Lopez was Mexico's Eugene Smith, fusing social commitment with searing imagery to dramatize the plight of the helpless, the poor, and the marginalized in the pages of glossy illustrated magazines. Even today, Lopez's photographs forcefully belie the picturesque exoticism that is invariably presented as the essence of Mexico. In Nacho Lopez, Mexican Photographer, John Mraz offers the first full-length study in English of this influential photojournalist and provides a close visual analysis of more than fifty of Lopez's most important photographs. Mraz first sets Lopez's work in the historical and cultural context of the authoritarian presidentialism that characterized Mexican politics in the 1950s, the cult of wealth and celebrity promoted by Mexico's professional photographers, and the government's attempts to modernize and industrialize Mexico at almost any cost. Mraz skillfully explores the implications of Lopez's imagery in this setting: the extent to which his photographs might constitute further victimization of his downtrodden subjects, the relationship between them and the middle-class readers of the magazines for which Lopez worked, and the success with which his photographs challenged Mexico's economic and political structures. Mraz contrasts the photos Lopez took with those that were selected by his editors for publication. He also compares Lopez's images with his theories about documentary photography, and considers Lopez's photographs alongside the work of Robert Capa, Dorothea Lange, Henri Cartier-Bresson, and Sebastiao Salgado. Lopez's imagery is further analyzed in relation to the Mexican Golden Age cinema inspired by Sergei Eisenstein, the pioneeringdigital imagery of Pedro Meyer, and the work of Manuel Alvarez Bravo, who Mraz provocatively argues was the first Mexican photographer to take an anti-picturesque stance. The definitive English-language assessment of Nacho Lopez's career, this volume also explores such broader topics as the nature of the photographic essay and the role of the media in effecting social change.
| Author | : John Mraz |
| Publisher | : U of Minnesota Press |
| Total Pages | : 264 |
| Release | : 2003 |
| Genre | : Photojournalism |
| ISBN | : 9781452905976 |
Annotation Photographer Nacho Lopez was Mexico's Eugene Smith, fusing social commitment with searing imagery to dramatize the plight of the helpless, the poor, and the marginalized in the pages of glossy illustrated magazines. Even today, Lopez's photographs forcefully belie the picturesque exoticism that is invariably presented as the essence of Mexico. In Nacho Lopez, Mexican Photographer, John Mraz offers the first full-length study in English of this influential photojournalist and provides a close visual analysis of more than fifty of Lopez's most important photographs. Mraz first sets Lopez's work in the historical and cultural context of the authoritarian presidentialism that characterized Mexican politics in the 1950s, the cult of wealth and celebrity promoted by Mexico's professional photographers, and the government's attempts to modernize and industrialize Mexico at almost any cost. Mraz skillfully explores the implications of Lopez's imagery in this setting: the extent to which his photographs might constitute further victimization of his downtrodden subjects, the relationship between them and the middle-class readers of the magazines for which Lopez worked, and the success with which his photographs challenged Mexico's economic and political structures. Mraz contrasts the photos Lopez took with those that were selected by his editors for publication. He also compares Lopez's images with his theories about documentary photography, and considers Lopez's photographs alongside the work of Robert Capa, Dorothea Lange, Henri Cartier-Bresson, and Sebastiao Salgado. Lopez's imagery is further analyzed in relation to the Mexican Golden Age cinema inspired by Sergei Eisenstein, the pioneeringdigital imagery of Pedro Meyer, and the work of Manuel Alvarez Bravo, who Mraz provocatively argues was the first Mexican photographer to take an anti-picturesque stance. The definitive English-language assessment of Nacho Lo.
| Author | : |
| Publisher | : |
| Total Pages | : 10 |
| Release | : 1956 |
| Genre | : Documentary photography |
| ISBN | : |
| Author | : John Mraz |
| Publisher | : Duke University Press |
| Total Pages | : 360 |
| Release | : 2009-06-15 |
| Genre | : History |
| ISBN | : 0822392208 |
In Looking for Mexico, a leading historian of visual culture, John Mraz, provides a panoramic view of Mexico’s modern visual culture from the U.S. invasion of 1847 to the present. Along the way, he illuminates the powerful role of photographs, films, illustrated magazines, and image-filled history books in the construction of national identity, showing how Mexicans have both made themselves and been made with the webs of significance spun by modern media. Central to Mraz’s book is photography, which was distributed widely throughout Mexico in the form of cartes-de-visite, postcards, and illustrated magazines. Mraz analyzes the work of a broad range of photographers, including Guillermo Kahlo, Winfield Scott, Hugo Brehme, Agustín Víctor Casasola, Tina Modotti, Manuel Álvarez Bravo, Héctor García, Pedro Meyer, and the New Photojournalists. He also examines representations of Mexico’s past in the country’s influential picture histories: popular, large-format, multivolume series replete with thousands of photographs and an assortment of texts. Turning to film, Mraz compares portrayals of the Mexican Revolution by Fernando de Fuentes to the later movies of Emilio Fernández and Gabriel Figueroa. He considers major stars of Golden Age cinema as gender archetypes for mexicanidad, juxtaposing the charros (hacienda cowboys) embodied by Pedro Infante, Pedro Armendáriz, and Jorge Negrete with the effacing women: the mother, Indian, and shrew as played by Sara García, Dolores del Río, and María Félix. Mraz also analyzes the leading comedians of the Mexican screen, representations of the 1968 student revolt, and depictions of Frida Kahlo in films made by Paul Leduc and Julie Taymor. Filled with more than fifty illustrations, Looking for Mexico is an exuberant plunge into Mexico’s national identity, its visual culture, and the connections between the two.
| Author | : Mexico. Embassy (N.Z.) |
| Publisher | : |
| Total Pages | : 16 |
| Release | : 2002 |
| Genre | : Photography |
| ISBN | : |
| Author | : Pan American Union |
| Publisher | : |
| Total Pages | : |
| Release | : 1956 |
| Genre | : |
| ISBN | : |
| Author | : John Mraz |
| Publisher | : University of Texas Press |
| Total Pages | : 328 |
| Release | : 2012-04-18 |
| Genre | : Photography |
| ISBN | : 0292742835 |
The Mexican Revolution of 1910–1920 is among the world’s most visually documented revolutions. Coinciding with the birth of filmmaking and the increased mobility offered by the reflex camera, it received extraordinary coverage by photographers and cineastes—commercial and amateur, national and international. Many images of the Revolution remain iconic to this day—Francisco Villa galloping toward the camera; Villa lolling in the presidential chair next to Emiliano Zapata; and Zapata standing stolidly in charro raiment with a carbine in one hand and the other hand on a sword, to mention only a few. But the identities of those who created the thousands of extant images of the Mexican Revolution, and what their purposes were, remain a huge puzzle because photographers constantly plagiarized each other’s images. In this pathfinding book, acclaimed photography historian John Mraz carries out a monumental analysis of photographs produced during the Mexican Revolution, focusing primarily on those made by Mexicans, in order to discover who took the images and why, to what ends, with what intentions, and for whom. He explores how photographers expressed their commitments visually, what aesthetic strategies they employed, and which identifications and identities they forged. Mraz demonstrates that, contrary to the myth that Agustín Víctor Casasola was “the photographer of the Revolution,” there were many who covered the long civil war, including women. He shows that specific photographers can even be linked to the contending forces and reveals a pattern of commitment that has been little commented upon in previous studies (and completely unexplored in the photography of other revolutions).
| Author | : Rosa Casanova |
| Publisher | : RM+Conaculta |
| Total Pages | : 308 |
| Release | : 2007 |
| Genre | : Mexico |
| ISBN | : |
Three decades after its foundation the National Photo Library is published the first large catalog of its collection. The volumeprovides an overview of the art of photography in Mexico and showcases one of the most important Latin American collections,irreplaceable testimony of more than 130 years of social history, political, cultural, artistic, scientific and economic life. Includes brief descriptions and large samples of funds Fototecamost interesting: the Mexican past and their indigenous heritage,the pioneer photographers of the nineteenth century, theCasasola collection, the photographs of Guillermo Kahlo's colonial architecture, records of Modotti, Brehme, Lopez andmany more. This book, bound in cloth and with the title stampedin gold letters, is a useful compendium to several researchers, as well as an endless source of delight for lovers of photography.
| Author | : Olivier Debroise |
| Publisher | : University of Texas Press |
| Total Pages | : 318 |
| Release | : 2001-03-15 |
| Genre | : Photography |
| ISBN | : 9780292716117 |
"Now this publication is available in English as Mexican Suite. Olivier Debroise and Stella de Sa Rego have revised this edition to include more current material and explanatory notes for an audience less familiar with Mexican history. They have also eliminated some of the general history of photography and added more of the early history of photography in Mexico, as well as many new, previously unpublished images. The book is organized both chronologically and thematically, which allows viewer/readers to follow the evolution of major photographic genres and styles. Debroise also examines the role of photography in the development of modern Mexico and the influence of prominent foreign photographers such as Edward Weston, Tina Modotti, and Henri Cartier-Bresson.
| Author | : Juan Rulfo |
| Publisher | : Rm |
| Total Pages | : 0 |
| Release | : 2010 |
| Genre | : Art |
| ISBN | : 9788492480920 |
Andrew Dempsey spent a decade to study the photographic collection of Juan Rulfo, composed of about 6,000 images. Ajoined work and both Daniele De Luigi selected 100 of them.This book is the first catalog of the knowledge of the entire file of Juan Rulfo and meets most of the genres he cultivated, properlyweighted: the buildings of Mexico, the many landscapes of the country, the life of small towns, artists, writers, friends and family of Juan Rulfo. It includes two texts by Juan Rulfo: one dedicated to HenriCartier-Bresson in the two periods of its passage through Mexicoand the other on the Mexican photographer Nacho Lopez. The authors also write about the selection of Juan Rulfo's photographyfrom a very knowledgeable in their respective areas ofcomnpetencia.
