This engrossing book presents the photographs of four historically engaged artists and explains what they reveal about the highly dramatic revolutionary and post-revolutionary period in Mexico from 1910 to 1935. The works of these photographers--American Walter H. Horne, Italian Tina Modotti, and Mexicans Agust�n V�ctor Casasola and Manuel �lvarez Bravo--are discussed not just as windows onto events but as artworks that offer both objective reporting and stylized expression. The twenty-five years covered in the book encompass some of the most convulsive developments in Mexico, from the violence and cataclysmic changes wrought by the Mexican Revolution to the immense struggles to forge a new nation and a new government. During this period, the work of the four photographers--two primarily documentary, one propagandistic, and one artistic and personal--enabled Mexicans to understand the forces that had brought their nation to armed conflict and social transformation.

In his masterful photo series Harvey Stein explores a country of incredible contrasts and contradictions.

Hugo Brehme created an idyllic vision of Mexico that influenced photography, film, and literature for a hundred years. His beautifully composed, timeless images of lo mexicano—cacti and pyramids, Indian children and marketplaces, colonial buildings and snow-capped volcanoes and peaks—were widely distributed and acclaimed both in Mexico and internationally. Noted critic Olivier Debroise characterized Brehme as "both the first modern photographer of Mexico and the last representative of its old guard and of a certain nineteenth-century vision." Working in Mexico from 1905 until his death in 1954, he was an early mentor to Mexico's most famous photographer, Manuel álvarez Bravo, and a significant influence on Golden Age filmmakers Gabriel Figueroa and Emilio "El Indio" Fernández. Brehme-esque imagery even appears in the work of American filmmaker John Ford and Russian filmmaker Sergei Eisenstein. Timeless Mexico presents an outstanding selection of Hugo Brehme's photographs, ranging from imagery of the Mexican Revolution to scenic landscapes, colonial architecture, and the everyday life of indigenous peoples. Susan Toomey Frost, who has collected Brehme's photography for many years, provides an illuminating introduction to his life and work. She also describes his practice of printing and distributing his photographs as collectible postcards—a practice that, together with publication in countless books, magazines, and tourist brochures, gave Brehme's work the wide circulation that made his images of Mexico iconic. Art historian Stella de Sá Rego authoritatively discusses Brehme's place in the history of Mexican photography, especially within Pictorialism, as she reveals how a man from Eisenach, Germany, came to create an enduring visual mythology of the essence of Mexico.

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.

"Combining aspects of his acclaimed street work with an innovative approach to portraiture, Chicago-based photographer Jed Fielding has concentrated closely on these children's features and gestures, probing the enigmatic boundaries between surface and interior. Design, composition, and the play of light and shadow are central elements in these photographs, but the images are much more than formal experiments; they confront disability in a way that affirms life. Fielding's sightless subjects project a vitality that seems to extend beyond the limits of self-consciousness. In collaborative, joyful participation with the children, he has made pictures that reveal essential gestures of absorption and the basic expressions of our creatureliness. Fielding's work achieves what only great art, and particularly great portraiture can: it launches and then complicates a process of identification across the barriers that separate us from each other.

A photobook about traveling. Includes images and textsUn fotolibro de imágenes y textos sobre viajar en México

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).

The 427 glass-plate and film negatives of the Osuna Collection, photographs from the Mexican Revolution, are now preserved in the Special Collections & Archives Department of the Tomâas Rivera Library at the University of California, Riverside. This volume reproduces the whole collection, highlights a number of the most striking images and provides essays that illuminate and place the photos in context.

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.

Agustín Victor Casasola photographed everyone of consequence in Mexico at the time of the revolution, from Francisco (Pancho) Villa, Emiliano Zapata and the exiled Russian leader Leon Trotsky to artists Diego Rivera and Frida Kahlo. For this splendid collection of Casasola's work, the noted American author Pete Hamill has written a rich essay on the photographer and the Mexico he pictured so well.