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A collection of images by the renowned Mexican American photographer, accompanied by critical essays and appreciations.
Some Hispanic Americans living today can recall a time when barrio or ranch life was marked by a simplicity and neighborliness that has vanished with progress. These thirteen first-person accounts of southern Arizona residents capture a spirit evocative of the Hispanic presence in the Southwest—whether in San Antonio, Santa Fe, Pueblo, or Los Angeles—while striking photographs reflect the grace and dignity of these indomitable individuals.
In 1978, the Mexican American Legal Defense and Education Fund commissioned five photographers to document Mexican American life in the American Southwest for an exhibition titled "ESPEJO". Unlike other photographers included in the project, Louis Carlos Bernal turned his camera toward the domestic sphere, creating intimate, colorful documents of both people and interiors in the Mexican American communities of his native Arizona. This thesis examines how the political beliefs and strategies of the historical Chicano movement informed Bernal's Barrios series. I argue that-through their portrayal of the home and its manifestations of cultural identity-the photographs reflect claims for Mexican American land ownership in the Southwest, an idea that was championed during the movement. While deeply informed about the historical Chicano movement of the 1960s and 1970s, which the "ESPEJO" project was a result of, Bernal avoided straightforward portrayals of Chicanx activism or struggle in his Barrios series. In this way, the series sought to define the legacy of the Chicano movement by picturing a Southwest wherein the movement's goals had been realized.
Food has been a much-photographed subject throughout the history of photography, across genres, including art and advertising. This is the first book to survey the rich history of food in photography, and the photographers who developed new ways of describing food in pictures. Through key images, Susan Bright explores the important figures and movements of food photography to provide an essential primer, from the earliest photographers to contemporary artists.
First published in 1992 to wide critical acclaim, Pictures From Home is Larry Sultan's pendant to his parents. Sultan returned home to Southern California periodically in the 1980s and the decade-long sequence moves between registers, combining contemporary photographs with film stills from home movies, fragments of conversation, Sultan's own writings and other memorabilia. The result is a narrative collage in which the boundary between the documentary and the staged becomes increasingly ambiguous. Simultaneously the distance usually maintained between the photographer and his subjects also slips in an exchange of dialogue and emotion that is unique to this work. Significantly increasing the page count of the original book, this MACK design of Pictures From Home clarifies the multiplicity of voices - both textual and pictorial - in order to afford a fresh perspective of this seminal body of work -- Provided by the publisher.
"This is the first book solely dedicated to the history, development, and present-day flowering of Chicana and Chicano visual arts. It offers readers an opportunity to understand and appreciate Chicana/o art from its beginnings in the 1960s, its relationship to the Chicana/o Movement, and its leading artists, themes, current directions, and cultural impact." "The visual arts have both reflected and created Chicano culture in the United States. For college students - and for all readers who want to learn more about this subject - this book is an ideal introduction to an art movement with a social conscience." --Book Jacket.