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| manuel alvarez bravo photopoetry: Manuel Alvarez Bravo Manuel Alvarez Bravo, 2008-10-29 Over 370 tritone photographs, arranged in broadly chronological order, mark Alvarez Bravo's remarkable eighty-year career. Strikingly poetic and richly resonant, the collection includes iconic images as well as over thirty previously unpublished masterpieces. Urban and rural scenes, still lifes, nudes, religious and vernacular subjects, portraits of luminaries including Diego Rivera, Frida Kahlo and Octavio Paz: all illustrate the peerless acuity of the photographer's eye. Above all, Alvarez Bravo's work celebrates his beloved Mexico, with its indigenous rituals and age-old customs.--Jacket. |
| manuel alvarez bravo photopoetry: Manuel Alvarez Bravo J. Paul Getty Museum, Manuel Alvarez Bravo, Manuel Álvarez Bravo, 2001 Manuel Alvarez Bravo created works of art displaying an array of styles and themes. This volume contains 50 images with extended commentaries on each. There is also a transcript of a symposium on Manuel Alvarez Bravo. |
| manuel alvarez bravo photopoetry: Irving Penn Maria Morris Hambourg, Jeff L. Rosenheim, Alexandra Dennett, Philippe Garner, Adam Kirsch, Harald E.L. Prins, Vasilios Zatse, 2017-04-21 Irving Penn (1917-2009) was among the most esteemed and influential photographers of the twentieth century. Over the course of a nearly seventy-year career, he mastered a pared-down aesthetic of studio photography that is distinguished for its meticulous attention to composition, nuance, and detail. This indispensable book features one of the largest selections of Penn's photographers ever compiled–nearly 300 in all–including famous and beloved images as well as works that have never been published. Celebrating the centennial of Penn's birth, this lavish volume spans the entirety of his groundbreaking career. An enlightening introduction situates his work in the context of the various artistic, social, and political environments and events that affected the content of his photographs. Lively essays acquaint readers with Penn's primary subjects and campaigns, including early documentary scenes and imagery; portraits of cultural figures and celebrities; fashion; female nudes; peoples of Peru, Dahomey (Benin), New Guinea, and Morocco; and still lifes. Rounding out the book are discussions of Penn's advertising pictures and his painstaking printing processes, as well as an illustrated chronology. Irving Penn: Centennialis essential for any fan of this artist's work or of the history of twentieth-century photography. |
| manuel alvarez bravo photopoetry: Instante Y Revelación Octavio Paz, 1983 |
| manuel alvarez bravo photopoetry: Why Poetry Matthew Zapruder, 2017-08-15 An impassioned call for a return to reading poetry and an incisive argument for poetry’s accessibility to all readers, by critically acclaimed poet Matthew Zapruder In Why Poetry, award-winning poet Matthew Zapruder takes on what it is that poetry—and poetry alone—can do. Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it. Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone. |
| manuel alvarez bravo photopoetry: Cosmopolitics of the Camera Trond Bjorli, Kjetil Jakobsen, 2020 An in-depth intellectual and historical analysis of Les Archives de la Planète, Albert Kahn's collection of early colour photography and documentary film. The book examines the extraordinary context of Kahn's work, considers archival theory and visual culture, and investigates the cosmopolitan strategies of Kahn and associates, e.g. Henri Bergson. |
| manuel alvarez bravo photopoetry: Building Brasilia Kenneth Frampton, 2010 Published on the occasion of Brasilia's fiftieth anniversary: a celebration in contemporary photography of the building of Brazil's capital city. |
| manuel alvarez bravo photopoetry: Manuel Alvarez Bravo Frederick Kaufman, Manuel Alvarez Bravo, 1997 Manuel Alvarez Bravo began photographing in 1924, during Mexico's thriving post-revolutionary artistic renaissance. His influences, from indigenous cultures to contemporary European trends, combined through his artistry to form a unique, transcendent vision rooted in the iconography of his country. While his early work embraced Mexico's urban realities, its peasants and workers, and its hauntingly beautiful landscape, Alvarez Bravo's ever-present acknowledgment of the macabre prompted Andre Breton, the leader of Surrealism in France, to claim him as an exponent of the movement. Prolific, uncompromising, and committed to advancing the arts of his country, nevertheless, public recognition eluded Alvarez Bravo, even in Mexico, until the 1970s, when his photographs were exhibited at the Pasadena Art Museum in California and at New York's Museum of Modern Art, in 1971. But it was not until 1997 that his work became widely known through a definitive exhibit of 185 photographs at the Museum of Modern Art and the simultaneous publication by Aperture of Manuel Alvarez Bravo: Photographs and Memories. Manuel Alvarez Bravo won his first award in 1931, and then decided to pursue photography as a career. He met Andre Breton in 1939, and his work was subsequently included in Surrealist exhibitions in Paris. In 1942, the Museum of Modern Art, New York, acquired their first works by Alvarez Bravo; in 1955, his photographs were included in Edward Steichen'sFamily of Man exhibition at MoMa. In 1959 Alvarez Bravo co-founded the Fondo Editorial de la Plastica Mexicana, with the goal of publishing books on Mexican art, which he co-directed until 1980, and from 1980 to 1986, he devoted his time tofounding and developing the collection of the first Mexican Museum of Photography. Alvarez Bravo is the recipient of the Sourasky Art Prize (1974), the National Art Prize (Mexico, 1975), a John Simon Guggenheim Memorial Fellowship (1975), the Victor and Erna Hasselblad Prize (1984), and the International Center of Photography's Master of Photography Award (1987). Manuel Alvarez Bravo: Photographs and Memories presents an intimate portrait of Mexico's revered photographer and, with his most beloved images, includes a selection of little-known work chosen with the photographer specifically for this classic monograph. |
| manuel alvarez bravo photopoetry: Henri Cartier-Bresson Henri Cartier-Bresson, 1995 'We are passive onlookers in a world that moves perpetually', wrote Henri Cartier-Bresson. From his earliest days as a photographer, Cartier-Bresson roamed the world in his quest to record the people, places and scenery that fascinated him most. Spanning a distinguished career of over sixty years, his photographs are testimony to his extraordinary skill at capturing the spontaneity, the mystery, the humour and the universality of the events that passed before him - images that earned him the reputation as perhaps the greatest photographer of all time. This book brings together for the first time a collection of photographs taken on two separate visits to Mexico - the first in 1934, just as the young twenty-seven-year-old was embarking on his photographic career, and the second some thirty years later. The dramatic images, preceded by a thought-provoking commentary from Carlos Fuentes, record with brutal accuracy the panorama of everyday life - an execution wall; crowded markets; stark, dusty landscapes; children playing in alleys - a unique record of a country and its people that includes some of the most famous and powerful photographic images of the twentieth century. |
| manuel alvarez bravo photopoetry: Lola Álvarez Bravo Karen Cordero Reiman, 2018-11-27 An outstanding exploration of a photographer, educator, and curator whose work both documented and created change in post-Revolutionary Mexico This stunning and lyrical volume highlights the personal work of Lola Álvarez Bravo (1903–1993), one of Mexico’s foremost photographers. Álvarez Bravo worked as a photojournalist, commercial photographer, portraitist, and educator and played a critical role in her country’s cultural renaissance. In the years following the Mexican Revolution, she captured a profoundly transformative moment for the country’s land, architecture, and people. She remains best known for these works and for her portraits of prominent modernists working in Mexico, including Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros. Lola Álvarez Bravo delves into a lesser-known body of work, in which attention to pattern, light, and abstraction guides the artist’s depictions of urban and rural landscapes and their inhabitants. It also addresses her role in building and securing the legacy of the post-Revolutionary period, her dialogue with modernist photographers, and her place within the broader cultural sphere, offering new insight into the mutual influence she shared with prominent painters, filmmakers, and literary figures of her time. |
| manuel alvarez bravo photopoetry: Shaped By War Don McCullin, 2020-01-16 No other photographer in modern times has recorded war and its aftermath as widely and unsparingly as Don McCullin. After a childhood in London during the Blitz, and after the hardships of evacuation, McCullin feels his life has indeed been shaped by war. From the building of the Berlin Wall at the height of the Cold War to El Salvador and Kurdistan, McCullin has covered the major conflicts of the last fifty years, with the notable exception of the Falklands, for which he was denied access. His pictures from the Citadel in Hue and in the ruins of Beirut are among the most unflinching records of modern war. The publication of many of his greatest stories in the Sunday Times magazine did much to raise the consciousness of a generation, even if he himself now fears that photographs cannot prevent history from repeating itself. The brutality of conflict returns over and over again. McCullin here voices his despair. McCullin recounts the course of his professional life in a series of devastating texts on war, the events and the power of photography. The conclusion of the book marks McCullin’s retreat to the Somerset landscape surrounding his home, where the dark skies over England remind him yet again of images of war. Despite the sense of belonging and even contentment, for him there is no final escape. |
| manuel alvarez bravo photopoetry: Manuel Álvarez Bravo Manuel Alvarez Bravo, Consejo nacional para la cultura y las artes (Mexique)., Instituto nacional de bellas artes (Mexique)., 2001 Acompañadas de una recopilación de textos periodísticos, poemas, cartas y documentos personales que sobre el fotógrafo escribieron Edward Westorn, Octavio Paz, Langston Hughes, André Breton, Paul Strand y Francisco Toledo, entre otros, las cien imágenes que componen este volumen, seleccionadas por el mismo artista, constituyen una de las travesías poéticas a lo largo del siglo XX de Manuel Álvarez Bravo. |
| manuel alvarez bravo photopoetry: Proust's Binoculars Roger Shattuck, 2014-07-14 In this compact volume readers just beginning Proust's master work and those who are already enriched by it will become aware of a significance not unkown but only forgotten--the basic structure of Proust's enormous novel. The overall meaning of Proust's book lies in his three ways of looking at the world--cinematographic, montage, and stereoscopic--and their varying effects on the emotions and the intellect. Originally published in 1983. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. |
| manuel alvarez bravo photopoetry: André Kertész André Kertész, J. Paul Getty Museum, 1994 Kertesz created some of the most acclaimed photographs of the twentieth century, and the J. Paul Getty Museum is fortunate to own a wide selection of his work. This volume - the first in the Museum's new In Focus series, which is devoted to photographers whose work is particularly well represented in the Getty - presents a handsome selection from the 164 Kertesz photographs in the Museum's collection. The photographs are accompanied by commentaries by Weston Naef, the Getty's Curator of Photographs. |
| manuel alvarez bravo photopoetry: Silver Lake Drive Alex Prager, 2018-06 Alex Prager is one of the truly original image makers of our time. Working fluidly between photography and film, she creates large-scale projects that combine elaborately built sets, highly staged, complex performances and a 'Hollywood' aesthetic to produce still and moving images that are familiar yet strange, utterly compelling and unerringly memorable. In her career she has won both popular acclaim and the recognition of the art establishment - her work can be found in the collections of MoMA and the Whitney Museum in New York as well as institutions worldwide. This book is the first career retrospective of this rising star. In 120 carefully curated photographs, it summarizes Prager's creative trajectory and offers an ideal introduction for the popular 'breakout' audience who may have only recently encountered her work. Structured around her project-orientated approach, Silver Lake Drive presents the very best images from her career to date: from the early Film Stills through her collaborations with the actor Bryce Dallas Howard on Week-end and Despair to the tour de force of Face in the Crowd - shot on a Hollywood sound stage with over 150 performers - and her 2015 commission for the Paris opera La Grande Sortie. Supported by an international exhibition schedule, and including an in-depth interview with Alex Prager by Nathalie Herschdorfer and supplementary essays by the curators of renowned museums and galleries, this book will be an essential addition to the collection of anyone who has followed Prager's career and all with an interest in and appreciation of contemporary art. |
| manuel alvarez bravo photopoetry: M Alvarez Bravo Manuel Álvarez Bravo, Jane Livingston, 1978 Information on the artist M. Alvarez Bravo with catalougue information and imagery from exhibition with The Corcoran Gallery of Art in Washington D.C. |
| manuel alvarez bravo photopoetry: Unreasonable Behaviour Don McCullin, Lewis Chester, 2015 McCullin is required reading if you want to know what real journalism is all about. --Times Literary Supplement From the construction of the Berlin Wall through every conflict up to the Falklands War, photographer Don McCullin has left a trail of iconic images. At the Sunday Times Magazine in the 1960s, McCullin's photography made him a new kind of hero. The flow of stories every Sunday took a generation of readers beyond the insularity of post-war Britain and into the recesses of domestic deprivation: when in 1968, a year of political turmoil, the Beatles wanted new pictures, they insisted on using McCullin; when Francis Bacon, whose own career had emerged with depiction of the ravages of the flesh, wanted a portrait, he turned to McCullin. McCullin now spends his days quietly in a Somerset village, where he photographs the landscape and arranges still-lifes -- a far cry from the world's conflict zones and the war-scarred north London of Holloway Road where his career began. In October 2015, it will be twenty-five years since the first publication of his autobiography, Unreasonable Behaviour -- a harrowing memoir combining his photojournalism with his lifework. The time is right to complete McCullin's story. |
| manuel alvarez bravo photopoetry: Edward Steichen Joel Smith, Edward Steichen, 1999 A stunning visual record of the emergence of Steichen as a great artist which explores the photographer's maturing artistry in the light of contemporary developments in photography, graphic design, and graphic arts. 60 color plates. 25 duotones. |
| manuel alvarez bravo photopoetry: How to Read a Photograph Ian Jeffrey, 2008 Ian Jeffrey is a superb guide in this profusely illustrated introduction to the apprecation of photography as an art form. Novices and experts alike will gain a deeper understanding of great photographers and their work, as Jeffrey decodes key images and provides essential biographical and historical background. Profiles of more than 100 major photographers, including Alfred Stieglitz, Bill Brandt, Henri Cartier-Bresson, Walker Evans, Paul Strand and Lazlo Moholy-Nagy, highlight particular examples of styles and movements throughout the history of the medium. Each entry includes a concise biography along with an illuminating discussion of key works and nuggets of contextual information, making this book the ideal gallery companion for photography aficionados everywhere. |
| manuel alvarez bravo photopoetry: Frida Kahlo, Diego Rivera and Mexican Modernism Anthony White, 2001 The self-portraits of Mexican artist Frida Kahlo are renowned for their dream-like quality and emotional intensity. A passionate woman endowed with an indomitable spirit, Kahlo overcame injury and personal hardship to become one of the world's most important female artists. Celebrated by the surrealists in her own lifetime, she has attained cult-like status both for her extraordinary art and her tempestuous love-life with her husband, Diego Rivera, Mexico's most prominent modern painter. An outstanding selection of paintings by Kahlo and Rivera form the core of this catalogue, which accompanies the National Gallery of Australia's exhibition. Jacques Gelman, the Russian emigre film producer, and his wife, Natasha, built up their collection over many years of acquaintance and collaboration with Mexico's greatest creative artists. It is now widely regarded as the most significant private holding of twentieth century American art. |
| manuel alvarez bravo photopoetry: Another Kind of Life Alona Pardo, 2018-05-08 Filled with compelling images from revered photographers of the past and present, this book sheds light on marginalized communities who have traditionally shied away from the camera. At a time when individual rights are being contested and when those on the fringes of society feel deeply threatened, this powerful photographic compilation delivers a message of humanity and inclusiveness that transcends geopolitical and cultural boundaries. Works by critically acclaimed photographers including Bruce Davidson, Paz Errazuriz, Jim Goldberg, Danny Lyon, Mary Ellen Mark, Boris Mikhailov, Daido Moriyama, and Dayanita Singh cast a compassionate, unflinching eye on the worlds inhabited by transsexuals, hookers, hustlers, bikers, junkies, circus performers, gang members, survivalists, petty criminals, and others who live in the shadows, on the streets, and out of the public eye. Grouped by photographer and ranging in genre from portraiture to photojournalism, these images were selected for their authentic and humane perspective, as well as for their artistic brilliance. An important testament to photography's power to both expose injustice and provide affirmation for those outside the norm, this collection bears witness to the ways social attitudes change across time and space, and how visual representation can promote understanding and dialogue. |
| manuel alvarez bravo photopoetry: Diego Riveria Linda Downs, Al Et, 1999-09-21 A beautifully illustrated in-depth study of the most important North American work by the best-known Mexican muralist, Diego Rivera. Early in the Depression, Diego Rivera was commissioned by Edsel Ford to create a series of murals in the gallery of the Detroit Institute of Arts, giant frescos whose theme would be America’s industrial might. This volume studies the astonishing results and gives us a remarkably close look at Diego and his wife, Frida Kahlo. Rivera’s Detroit Industry murals are one of this country’s greatest treasures. In addition to providing full coverage and analysis of the murals, the book includes chapters on the murals’ planning and antecedents, Rivera’s working methods (which can be read as a primer on frescos), Diego and Frida’s lives for their nine months in Detroit, and the public’s dramatic response to the strong socialist/communist themes in the works. |
| manuel alvarez bravo photopoetry: Manuel Alvarez Bravo, photopoetry Manuel Álvarez Bravo, John Banville, 2008 |
| manuel alvarez bravo photopoetry: Manuel Alvarez Bravo Manuel Alvarez Bravo, Guillermo Sheridan, Rose Gallery (Santa Monica, Calif.), 2007 Introduction by Rose Shoshana. Text by Guillermo Sheridan. Translated by Lorna Fox. |
| manuel alvarez bravo photopoetry: Revelaciones Manuel Álvarez Bravo, 1992 American Express is proud to salute Maneul Alvarez Bravo's lifetime of achievement in photography by sponsoring the traveling exhibition of his work. |
| manuel alvarez bravo photopoetry: Photopoetry 1845-2015 Michael Nott, 2018-05-31 From amateur experiments in scrapbooks and stereographs to contemporary photobook collaborations between leading practitioners, poets and photographers have created an art form that continues to evolve and deserves critical exploration. Photopoetry 1845-2015, a Critical History represents the first account of this challenging and diverse body of work. Nott traces the development of photopoetic collaboration from its roots in 19th-century illustrative practices to the present day. Focusing on work from the UK and US, he examines how and why poets and photographers collaborate, and explores the currents of exchange and engagement between poems and photographs on the page. The book not only considers canonical figures, but brings to light forgotten practitioners whose work questioned and shaped the relationship between word and image. Photopoetry 1845-2015, a Critical History provides a new lens through which to explore poetry, photography, and the spaces between them. |
| manuel alvarez bravo photopoetry: The Daybooks of Edward Weston: Mexico Edward Weston, 1973 For more than fifteen years, Edward Weston kept a diary in which he recorded his struggle to understand himself, his society, and his medium. Seldom has an artist written about his life as vividly, intimately, or sensitively. His journal has become a classic of photographic literature.A towering figure in twentieth-century photography, Weston sought to awaken human vision. His restless quest for beauty and the mystical presence behind it created a body of work unrivaled in the medium. For more than fifteen years, Edward Weston kept a diary in which he recorded his struggle to understand himself, his society, and his medium. Seldom has an artist written about his life as vividly, intimately, or sensitively. His journal has become a classic of photographic literature.A towering figure in twentieth-century photography, Weston sought to awaken human vision. His restless quest for beauty and the mystical presence behind it created a body of work unrivaled in the medium. |
| manuel alvarez bravo photopoetry: Henri Cartier-Bresson Henri Cartier-Bresson, Peter Galassi, 2010 Published to accompany an exhibition at The Museum of Modern Art, this is the first major publication to make full use of the extensive holdings of the Fondation Cartier-Bresson, including thousands of prints and a vast resource of documents relating to the photographer's life and work. |
| manuel alvarez bravo photopoetry: Photographs of Mexico Paul Strand, Leo Hurwitz, 1940 Photographs of Mexico, a portfolio of twenty hand-pulled dust grain gravure prints by Paul Strand, has long been unavailable. A second edition was published as the Mexican Portfolio in 1967. Six hand-pulled photogravures from this portfolio are now available in a new edition of 350 prints & 35 artist's proofs bearing the seal of the Paul Strand Archive. |
| manuel alvarez bravo photopoetry: Villa and Zapata Frank McLynn, 2001 The Mexican Revolution (1910-19) was the first seismic social convulsion of the twentieth century, superseded in historical importance only by the Russian and Chinese revolutions. Tierra y Libertad (land and liberty) was the watchword of the revolutionaries who fought a succession of autocrats in Mexico City. But the revolution was fired by a confusing multiplicity of issues- local, national, international, cultural, racial and economic. The two greatest rebel leaders were Francisco (Pancho) Villa and Emiliano Zapata, and Frank McLynn here tells the story of the Revolution through a dual biography of these legendary heroes.The great ten-year struggle that devastated Mexico was essentially a war on two fronts- in the north waged by Villa and a mobile army of ex-cowboys and ranchers; and in the south carried on by Zapata and an infantry army recruited from the peons of the sugar plantations. Villa was the Revolution's great military hero, but Zapata was its soul and the only rebel whose revolt was aimed at a genuine root-and-branch transformation of Mexican society. The two men reached the peak of their careers in 1914 when they met briefly in triumph in Mexico City. Failing to make common cause, over the next five years they gradually fell victim to their great rivals. |
| manuel alvarez bravo photopoetry: Picturing People Dawoud Bey, Julie Bernson, Arthur C. Danto, 2012 Since 1975, Chicago-based photographer Dawoud Bey has developed a body of work distinguished for its commitment to portraiture as means for understanding contemporary social circumstances. Ranging from chance street encounters to studio portraits, Bey has investigated a range of methods to find increased engagement with his subjects, and the resulting candor and expression such images convey. The Renaissance Society is pleased to present a career survey of Bey's work, including a new chapter of Strangers/Community featuring portraits of individuals from Hyde Park, Chicago, home to both the University of Chicago and the artist. 0Exhibition: The Renaissance Society, Chicago, USA (13.05-13.07.2012) / Museum of Contemporary Art North Miami, USA (07.06.-08.09.2013) / The Marianna Kistler Beach Museum of Art, Kansas State University, USA / McDonough Museum of Art, Youngstown State University, USA. |
| manuel alvarez bravo photopoetry: Isolated Houses John Divola, 2001 |
| manuel alvarez bravo photopoetry: Man Ray Man Ray, 1974 |
| manuel alvarez bravo photopoetry: Ghosts of the Revolution in Mexican Literature and Visual Culture Erica Segre, 2013 The official centenary commemorating the Mexican Revolution of 1910 provided scholars with an opportunity to consider memorialization and its legacies and 'afterimages' in the twentieth century through to the present time. This collection of new essays, commissioned from experts based in Mexico, Europe and the United States, plays on the interrelated notions of 'revisitation', haunting, residual traces and valediction to interrogate the Revolution's multiple appearances, reckonings and reconfigurations in art, photography, film, narrative fiction, periodicals, travel-testimonies and poetry, examining key constituencies of creative media in Mexico that have been involved in historicizing, contesting or evading the mixed legacies of the Revolution. The interplay of themes, practices and contexts across the chapters (ranging from the 1920s through to the present day) draws on interdisciplinary thinking as well as new findings, framing the volume's discourse with a deliberately multi-dimensional approach to an often homogenized topic. The contributors' scholarly referencing of artists, novelists, poets, photographers, foreign correspondents, critics, filmmakers and curators is detailed and wide-ranging, creating new juxtapositions that include some rarely studied material. |
| manuel alvarez bravo photopoetry: Manuel Alvarez Bravo Manuel Alvarez Bravo, 1997 This is a particularly brilliant issue of Aperture, replete with full tone reproductions of some his best known images as well as a lot of the lesser known ones, and an essay by Frederick Kaufman. |
| manuel alvarez bravo photopoetry: Manuel Alvarez Bravo Elena Poniatowska, Manuel Álvarez Bravo, 1991 |
| manuel alvarez bravo photopoetry: Camerawork , 2007 |
| manuel alvarez bravo photopoetry: Manuel Alvarez Bravo Manuel Álvarez Bravo, 1997 |
| manuel alvarez bravo photopoetry: Manuel Álvarez Bravo Manuel Álvarez Bravo, Colette Alvarez Urbajtel, Jean-Claude Lemagny, John Banville, Carlos Fuentes, 2011 O livro Manuel 'Álvarez Bravo fotopoesia' apresenta 374 imagens do fotógrafo, tem o prefácio de Colette Alvarez Urbajtel, viúva do fotógrafo e ensaios assinados pelo crítico e historiador da fotografia francês Jean-Claude Lemagny e pelos romancistas John Banvillee Carlos Fuentes, bem como uma cronologia e bibliografia. |
| manuel alvarez bravo photopoetry: Errant Modernism Esther Gabara, 2008-12-15 Making a vital contribution to the understanding of Latin American modernism, Esther Gabara rethinks the role of photography in the Brazilian and Mexican avant-garde movements of the 1920s and 1930s. During these decades, intellectuals in Mexico and Brazil were deeply engaged with photography. Authors who are now canonical figures in the two countries’ literary traditions looked at modern life through the camera in a variety of ways. Mário de Andrade, known as the “pope” of Brazilian modernism, took and collected hundreds of photographs. Salvador Novo, a major Mexican writer, meditated on the medium’s aesthetic potential as “the prodigal daughter of the fine arts.” Intellectuals acted as tourists and ethnographers, and their images and texts circulated in popular mass media, sharing the page with photographs of the New Woman. In this richly illustrated study, Gabara introduces the concept of a modernist “ethos” to illuminate the intertwining of aesthetic innovation and ethical concerns in the work of leading Brazilian and Mexican literary figures, who were also photographers, art critics, and contributors to illustrated magazines during the 1920s and 1930s. Gabara argues that Brazilian and Mexican modernists deliberately made photography err: they made this privileged medium of modern representation simultaneously wander and work against its apparent perfection. They flouted the conventions of mainstream modernism so that their aesthetics registered an ethical dimension. Their photographic modernism strayed, dragging along the baggage of modernity lived in a postcolonial site. Through their “errant modernism,” avant-garde writers and photographers critiqued the colonial history of Latin America and its twentieth-century formations. |
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Philosophie Tle voie générale - éd. 2020 - mon-espace-e-education
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Mes manuels à la maison, c'est fini - mon-espace-e-education
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Fonctionnalités - Mes manuels
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Via Libre Espagnol Tle - éd. 2020. - mon-espace-e-education
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