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Graciela Iturbide: Heliotropo 37
Text by Eduardo Halfon. Interview by Fabienne Bradu. Photographs by Pablo López Luz.
A sumptuous survey of Mexico's foremost photographer
Through more than 200 photographs, this luxurious volume presents Mexican photographer Graciela Iturbide’s most iconic works alongside an important selection of previously unpublished photographs and a series of color photographs specially commissioned by the Fondation Cartier.
Working mainly in black and white, Iturbide has explored the cohabitation between ancestral traditions and Catholic rites in Mexico, humanity’s relationship with death and the roles of women in society. In recent years, her photographs have emptied themselves of human presence, revealing the enigmatic life of objects and nature. In addition to her stark images of her homeland, this book also includes images from her series in India, the United States and elsewhere. Heliotropo 37, named for the photographer’s address in Mexico City, also contains an interview with the photographer by French essayist Fabienne Bradu, an original short story by Guatemalan writer Eduardo Halfon and a photo-portrait of Iturbide’s studio by Mexican photographer Pablo López Luz.
One of the most influential photographers active in Latin America today, Mexican photographer Graciela Iturbide (born 1942) began studying photography in the 1970s with legendary photographer Manuel Álvarez Bravo. Seeking “to explore and articulate the ways in which a vocable such as 'Mexico' is meaningful only when understood as an intricate combination of histories and practices,” as she puts it, Iturbide has created a nuanced and sensitive documentary record of contemporary Mexico. She lives and works in Mexico City.
Featured image is reproduced from 'Graciela Iturbide: Heliotropo 37'.
PRAISE AND REVIEWS
The New York Times Book Review
Her work seems to reflect all the great modernist photographers of Mexico, from Agustín Casasola to Tina Modotti by way of Sergei Eisenstein’s fragmentary film “Que Viva Mexico.” And all this with a technical mastery that makes the grimiest surfaces look sensuous.
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FROM THE ARTBOOK BLOG
CORY REYNOLDS | DATE 5/25/2022
Featured image, titled “Carretera 82, de Abbeyville a Intracostal City, Louisiana” (1997), is reproduced from Graciela Iturbide: Heliotropo 37, published by Fondation Cartier pour l’art contemporain. Iturbide began photographing birds after the death of her daughter in 1970. “Everything in life is connected,” she said: “your pain and your imagination, which can help you to forget reality. What you are living is connected to what you dream about, and what you dream about is connected to what you do, and photographs remain lasting reminders of this.” continue to blog
FROM THE ARTBOOK BLOG
CORY REYNOLDS | DATE 5/4/2022
Featured spreads are from Graciela Iturbide: Heliotropo 37, the iconic new monograph from Fondation Cartier featuring tipped on cover image and Smyth Sewn exposed binding. “Photography is not the truth,” Iturbide says in the published interview with Fabienne Bradu. “The photographer interprets reality, he builds his own reality according to what he knows and his emotions. It’s sometimes complicated because it is a slightly schizophrenic phenomenon. Without the camera, you see the world one way, and with it, another way; through this little window, you compose, you dream reality, as if the camera allowed you to synthetize what you are and what you’ve learned about the place. Then, you create your own image, you interpret. The same thing happens to the photographer and the writer alike: it’s impossible to capture life’s truths.” continue to blog