The photograph Mujer ángel (Angel Woman), showing a Seri Indian with her back to us, walking through the desert carrying a radio recorder, is one of Graciela Iturbide's most compelling images. It is, strictly speaking, a documentary photograph, and yet, at the same time, it appears to symbolise the tension between two civilisations, raising the question of how indigenous culture can continue to survive within western culture. Graciela Iturbide often creates images that seem to shift like silhouettes between knowing and sensing. Her photography addresses the subtle and complex interaction of different realities and their stratifications. She herself describes photography as an excuse to discover the world. It is an approach that makes "discovering" seem synonymous with "living"; as though "being in the world" were quite simply the same as "being".
Horacio Fernandez (Author)
A growing appreciation of the photobook has inspired a flood of new scholarship and connoisseurship of the form--few as surprising and inspiring as The Latin American Photobook, the culmination of a four-year, cross-continental research effort led by Horacio Fernandez, author of the seminal volume Fotografia Pública. Compiled with the input of a committee of researchers, scholars, and photographers, including Marcelo Brodsky, Iatã Cannabrava, Pablo Ortiz Monasterio and Martin Parr, The Latin American Photobook presents 150 volumes from Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Nicaragua, Peru and Venezuela. It begins with the 1920s and continues up to today, providing revelatory perspectives on the under-charted history of Latin American photography, and featuring work by great figures such as Claudia Andujar, Barbara Brändli, Manuel Álvarez Bravo, Horacio Coppola, Paz Errázuriz, Graciela Iturbide, Sara Facio, Paolo Gasparini, Daniel González, Boris Kossoy, Sergio Larrain and many others. The book is divided into thematic sections such as "The City," "Conceptual Art and Photography" and "Photography and Literature," the latter a category uniquely important to Latin America. Fernandez's texts, exhaustively researched and richly illustrated, offer insight not only on each individual title and photographer, but on the multivalent social, political, and artistic histories of the region as well. This book is an unparalleled resource for those interested in Latin American photography or in discovering these heretofore unknown gems in the history of the photobook at large.