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A photographic essay comprising more than 80 black and white gelatin silver prints of nude males (working class and models) from diverse South American countries, taken by prestigious art photographer Marcos Zimmermann (b. Argentina 1950) in their natural environment. Describing his work, Zimmermann comments: -"A series de of photographic portraits of men from 7 countries of South America stripped of their clothes and caught in their own worlds. Exposed to all, only with their physical attributes and the environment that defines them. Stripped of everything that covers them and surrounded only by the small things that protect them. And after all, isn't this double crudeness more in accordance with the image of a region as hard as the South American history?"-P. [1]. Marcos Zimmermann was born in Buenos Aires, Argentina. He studied cinema there at the National Institute of Cinematography's Experimental Centre. Since 1973 he was the still photographer in the Argentine and foreign films: Quebracho, La Raulito, Camila, Miss Mary, Les Longs Manteaux and many others. Since 1982 he created twelve photographic books. His photographs have been acquired by Manuel Alvarez Bravo for the Televisa Foundation A.C. in Mexico; by John Szarkowski for the Paine Webber Group Photographic Collection in New York; by Eikoh Hosoe for the Shadai Gallery de Tokio, by Anne Tucker for the colection of the Houston Museum of fine Arts, by Spencer Throckmorton Fine Art Gallery, by the Bank of America Collection and by numerous private collectors in Argentina, Peru, Japan, Italy, France, Germany, Holland, Switzerland, Chile and the United States. His work is part of the collections of: Museo Nacional de Bellas Artes and the Museum of Modern Art, both in Buenos Aires; The Kiyosato Museum of Photographic Arts and The Kyushu Sangyo Museum in Japan; The Museum of Fine Arts of Houston.
One of the important cultural responses to political and sociohistorical events in Latin America is a resurgence of urban photography, which typically blends high art and social documentary. But unlike other forms of cultural production in Latin America, photography has received relatively little sustained critical analysis. This pioneering book offers one of the first in-depth investigations of the complex and extensive history of gendered perspectives in Latin American photography through studies of works from Argentina, Mexico, and Guatemala. David William Foster examines the work of photographers ranging from the internationally acclaimed artists Graciela Iturbide, Pedro Meyer, and Marcos López to significant photographers whose work is largely unknown to English-speaking audiences. He grounds his essays in four interlocking areas of research: the experience of human life in urban environments, the feminist matrix and gendered cultural production, Jewish cultural production, and the ideological principles of cultural works and the connections between the works and the sociopolitical and historical contexts in which they were created. Foster reveals how gender-marked photography has contributed to the discourse surrounding the project of redemocratization in Argentina and Guatemala, as well as how it has illuminated human rights abuses in both countries. He also traces photography’s contributions to the evolution away from the masculinist-dominated post–1910 Revolution ideology in Mexico. This research convincingly demonstrates that Latin American photography merits the high level of respect that is routinely accorded to more canonical forms of cultural production.
From its independence in 1810 until the economic crisis of 2001, Argentina has been seen, in the national and international collective imaginary, as a modern country with a powerful economic system, a massive European immigrant population, an especially strong middle class, and an almost nonexistent indigenous culture. In some ways, the early history of Argentina strongly resembles that of the United States, with its march to the prairies and frontier ideology, the image of the cowboy as a national symbol (equivalent to the Argentine gaucho), the importance of the immigrant population, and the advanced and liberal ideas of the founding fathers. But did Argentine history truly follow a linear path toward modernization? How did photography help shape or deconstruct notions associated with Argentina? Photography in Argentina examines the complexities of this country’s history, stressing the heterogeneity of its realities, and especially the power of constructed pho-tographic images—that is, the practice of altering reality for artistic expression, an important vein in Argentine photography. Influential specialists from Argentina have contributed essays on various topics, such as the shaping of national myths, the adaptation of gesture as related to the “disappeared” during the dictatorship period, the role of contemporary photography in the context of recent sociopolitical events, and the reinterpreting of traditional notions of documentary photography in Argentina and the rest of Latin America.
This collection of first-prize-winning Spanish-language short stories, Desnudos del alma (Nuevo Ser: Buenos Aires, 2004) by Marisa Estelrich, is masterfully translated to English by Graciela Lucero-Hammer. Amanda Powell, co-translator and editor of The Answer/ La Respuesta, states: "Marisa Estelrich takes her place among artists who work internationally in the best sense of the word, by embracing rather than erasing local and regional realities, and at the same time exploring a world literary inheritance. Her dreamdriven narratives are at home in the Americas, South and North, while they traverse as well the hemispheres of creativity and analysis. These oblique interrogations of power and pleasure let us know how much, and how little, the complicated descriptor "woman writer" matters. Graciela Lucero Hammer's deft and lucid translations show the plain-spoken at play with the phantasmagoric. We are fortunate to have these two fine writers offer us Desnudos del alma/Naked Souls."
The Group of study Guanahani, in its customary academic work, delivers this research referred to the female nude throughout the 19th century and beginning of the 20th century in Latin America, a study addressed from the perspective of the history of art. The corpus of this book, structured in chronological order on the basis of the dates of performance of the box, has 23 articles.ʺ (HKB Translation)--Page 8.
A collection of columns from "El Pais."