"Paul Strand in Mexico" tells the story of the photographer's journeys through Mexico in the early 1930s. In search of a fresh start, Strand traveled to Mexico City in late 1932 at the invitation of Carlos Chavez, the eminent Mexican composer and conductor. The work he created during this key period reflects a time of intense productivity, creative renewal, and the evolution of Strand's foundational idea of the "collective portrait," in which he depicted a region through photographs of individuals, still lifes and studies of architecture and religious subjects. The first publication to chronicle this pivotal time in Strand's career (1932-34), "Paul Strand in Mexico "demonstrates how, through his photographic studies and work in film, Strand deepened his involvement with Mexican art, society, and revolutionary politics. Shedding new light on this little-known chapter of Strand's life, a scholarly analysis by James Krippner (Associate Professor of History at Haverford College, Pennsylvania) brings together primary research from distinguished archives and institutions in both Mexico and the United States, and Mexican photo-historian Alfonso Morales contributes an essay contextualizing this remarkable body of work within the canon of Mexican photography and film of the 1930s. Additionally, the appendix serves as the catalogue raisonne of Strand's entire photographic output in Mexico. The culmination of Strand's time in Mexico was his collaboration with Emilio Gomez Muriel and Academy Award-winning director Fred Zinnemann on the groundbreaking film, "Redes" ("The Wave") (1936). A remastered DVD version of the film is included with this essential volume. Paul Strand (1890-1976) is one of the great photographers of the twentieth century. As a youth, he studied under Lewis Hine at the Ethical Culture Fieldston School, going on to draw acclaim from such illustrious sources as Alfred Stieglitz. After World War II, Strand traveled around the world--from New England to Ghana to France to the Outer Hebrides--to photograph, and in the process created a dynamic and significant body of work.
Photographs of Mexico, a portfolio of twenty hand-pulled dust grain gravure prints by Paul Strand, has long been unavailable.
Beautifully produced in a modest size, in the manner of a volume of poems, this book's task is to do credit to Strand's final work, both as an individual and as a key figure in Modernist photography.
Using the expansive vernacular of black and white night photography to modify the antiquarian sensibility ordinarily brought to the study of Mexico’s colonial architectures, Colonial Noir brings together the unsettling...
Elizabeth B. Crist and Wayne Shirley, The Selected Correspondence of Aaron Copland (New Haven: Yale University Press, 2006), 103. 4. Ibid., 110–11. 5. Adriana Martínez Figueroa, “Music and the Binational Imagination: The Musical ...
"Now this publication is available in English as Mexican Suite. Olivier Debroise and Stella de Sa Rego have revised this edition to include more current material and explanatory notes for an audience less familiar with Mexican history.
Amy Conger, Edward Weston in Mexico, 1923–1926 (Albuquerque: University of New Mexico Press, 1983), 3, exhibition catalog. 2. Concerning Weston's reception in Mexico, see Sarah M. Lowe, Tina Modotti and Edward Weston: The Mexico Years ...
"Paul Strand is universally acclaimed as a master. His pictures rank highly among the most often reproduced masterworks of photography and have an honored place within the canon of modern...
The idea of another photo book took shape when the Strands met Claude Roy , the young French poet and Communist Party member who became his collaborator . Over the next two years , Roy would write texts to complement Strand's images ...
21. Priscilla Connolly, “The Case of Mexico City, Mexico,” in Global Report on Human Settlements 2003 (Nairobi: UN-Habitat). 22. Roberto Tejada, National Camera: Photography and Mexico's Image Environment (Minneapolis: University of ...
Paul Strand en México