GIULIETTA MORA | PHOTOGRAPHER

“Sono di origine siciliana e mi sono avvicinata alla fotografia “seria” da appena cinque anni.
Prima ero più appassionata al video e, se si escludono i compleanni e gli alberi di Natale, non avevo mai fotografato con particolare impegno fino al momento di un viaggio negli USA, quando ho ricevuto in regalo una Canon Powershot S5IS.
Questa macchina oggi affianca due reflex Canon (350D – 550D) corredate con tre ottiche: 10-22mm, 24-105mm, 70-200mm 4L.
Anche se i parchi americani si prestarono molto a fare delle foto diverse dal solito, ad uscire dal banale, per me i miei primi scatti erano soltanto delle belle foto e niente di più.
E’ stato poi l’incoraggiamento degli amici a spingermi ad un maggiore impegno. Per farmi una sorpresa, un’amica inviò delle mie foto a un sito online e mi spinse a iscrivermi a un fotoclub virtuale.
Furono i commenti lusinghieri e incoraggianti dei vari soci a farmi rendere conto che gli apprezzamenti che ricevevo da coloro che mi stavano vicino non erano solo frutto della loro amicizia.
Il passo successivo fu l’iscrizione a MicroMosso, dove ho trovato un bellissimo ambiente e molti autori parecchio bravi da cui imparare.
In questi ultimi anni ho avuto la possibilità di fare diversi viaggi che mi hanno offerto molti spunti per realizzare delle foto di mio gusto ed apprezzate anche dagli amici fotograficamente più evoluti.
Naturalmente non fotografo solo in occasione dei viaggi.
Senza volere criticare e senza nulla togliere alla bravura di chi passa una vita intera fotografando la stessa tipologia di soggetto (macro, ritratto, nudo, ecc.), a me piace provare un pò con tutto
Sono in una fase in cui amo sfidare me stessa sperimentando generi diversi, anche se mi sento più portata al reportage, adoro fotografare i paesaggi e la natura in genere, gli eventi live e la gente.
Il mio soggetto preferito sono infatti le persone, in particolare le donne che tra le foto presentate su MM sono il soggetto più frequente.
Sebbene so apprezzare la qualità dalla fotografia analogica, mi considero fortunata ad essere approdata alla fotografia direttamente nell’epoca del digitale.
La sua versatilità offre dei vantaggi straordinari per chi come me, senza dovere aspettare il ritorno delle diapo dal laboratorio, impara sperimentando …e poi c’è il mondo straordinariamente espressivo del “post”.
E’ stata una piacevole sorpresa essere stata selezionata sia per la Mostra Fotografica MicroMosso “Scatti dal Web” a Lucca che per “Un Anno di Micromosso” a Seravezza.
Oltre a queste esperienze, ho partecipato ad un solo concorso  fotografico: ” Il Bello Fa Bene”
Un concorso per selezionare immagini da collocare in modo permanente nelle strutture sanitarie dell’Azienda USL di Bologna, onde renderle più accoglienti.
Al concorso parteciparono 414 persone con 1913 fotografie, di cui solo 100 furono selezionate per una grande mostra nelle sale dell’Archiginnasio di Bologna e da collocare successivamente negli ospedali.
La scelta tra quei cento scatti di tre delle mie immagini fu una emozione davvero speciale per me.
Un altra soddisfazione è stata la pubblicazione di un mio scatto a rappresentare il mese di dicembre sul calendario 2011 del “Centro Studi Antartide” di Bologna. Infine, alcune mie foto di genere archeologico sono presenti in un libro intitolato “Theatra”, sul tema appunto dei teatri antichi.
Ecco questa sono io!
Un saluto a tutti da Giulietta!”
Le foto di Giulietta su Micromosso

Sospettoso

Bagno Sacro

Il Siciliano

Comunicazione Globale

Bianca Neve

Amiche?

A rainy day

Madonna con Bambino - 2

"Io Ti Guardo"

Treno In Ritardo Al Binario Uno

Figaro qua, Figaro là, Figaro su, Figaro giù ..

Nomade

All images © Giulietta Mora

 

Fonte

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GRACIELA ITURBIDE | PHOTOGRAPHER

Graciela Iturbide married the architect Manuel Rocha Diaz in 1962. She had three children from this marriage. She studied cinema at the CUEC film school in the University of Mexico. Iturbide's six year old daughter died in 1970; this led her to inner search, which in turn led her to discover her interest in photography. Between 1970 and 1971, Iturbide collaborated with famous Mexican photographer Manuel Alvarez Bravo. Additionally, she had studied filmography at Mexico's "Centro Unversitario de Estudios Cinematograficos", a division of the UNAM university. While working with Alvarez Bravo, she also learned photography techniques used by the celebrated photographer.
Along with Alvarez Bravo, Iturbide began to explore Mexico's indigenous areas--Indigenous influence would surface later on in her career as a photographer. In 1974, she received the Eugene Smith grant for humanitarian photography, and a scholarship at the Guggenheim college.
In 1979, Iturbide was asked by a man to photograph his village. Interested by the proposal, Iturbide released her first collection, titled "Mujer Angel" ("Angel Woman") and shot at Mexico's portion of the Sonoran desert. Her first experience as a photographer shaped Iturbide's views on life, making her a strong supporter of feminism.
Some of the inspiration for her next work came from her support of feminist causes. Her well known collection, "Señora de Las Iguanas", ("Our Lady of the Iguanas") was shot in Juchitan, Oaxaca, a city where women dominated town life. Her work in Juchitan was not only about women, however: she also shot "Magnolia", a photo of a man wearing a dress and looking at himself on a mirror. It was "Magnolia" that has led many photography experts to say that Iturbide also explored sexuality among Mexicans with her work.
Graciela Iturbide liked Oaxaca, and in 1986, she returned to that area for more photos.
Iturbide also worked in Argentina (during 1996), India (where she shot another well known photo of hers, "Perros Perdidos", or "Lost Dogs"), and the United States, where she did her last known work, an untitled collection of photos shot in Texas. http://gracielaiturbide.org/Biography.html

Graciela Iturbide (Mexican, born 1942), Danza de la Cabrita [Dance of the Little Goat], la Mixteca, Oaxaca

, 1992, Gelatin silver print, 22.9 x 32.4 cm, Courtesy of the artist and RoseGallery, Santa Monica, © Graciela Iturbide, L.2007.78.2

Graciela Iturbide, (Mexican, born 1942),Cholos, Harpys, East L.A., Negative 1986, print 1990, Gelatin silver print, 29.8 x 41.9 cm, Gift of Daniel Greenberg and Susan Steinhauser, Los Angeles, © Graciela Iturbide, L.2006.50.5.

Graciela Iturbide, (Mexican, born 1942), Nuestra Señora de las Iguanas [Our Lady of the Iguana], Juchitán, Mexico, Negative 1979, print mid-1990s, Gelatin silver print, 53.3 x 43.2 cm, Gift of Daniel Greenberg and Susan Steinhauser, Los Angeles, © Graciela Iturbide, L.2006.50.39.

Graciela Iturbide (Mexican, born 1942), Rosario and Boo Boo in Their Home, East Los Angeles, Negative 1986, print 2006, Gelatin silver print, 32.7 x 22 cm, The J. Paul Getty Museum, Los Angeles, © Graciela Iturbide, 2007.38.1.

 Graciela Iturbide (Mexican, born 1942), Gallos, Juchitan, Oaxaca, (Roosters, Juchigán, Oaxaca, 1985, Gelatin silver print, 30.9 x 20.7 cm, The J. Paul Getty Museum, Los Angeles, © Graciela Iturbide, 2007.11.11.

Graciela Iturbide (Mexican, born 1942), México D.F., 1969, Gelatin silver print, 15.6 x 23 cm (6 x 9 in.), The J. Paul Getty Museum, Los Angeles, © Graciela Iturbide 2007.11.1.

 

All images © Graciela Iturbide

http://www.gracielaiturbide.org/

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MANUEL MENDIVE HOYO | ART

Manuel Mendive is perhaps the single most important Cuban artist today. Mendive, a major exponent of contemporary Afro-cubanismo in the visual arts, was born in 1944 into family that practiced La Regla de Ocha (Santeria) and his work shows this influence. Afro-Cuban roots are at the core of his art, inspiring both form and color.
He graduated from the prestigious Academia de Artes Plásticas San Alejandro in Havana in 1962 with honors in sculpture and painting. He held his first one-man show at the Center of Art in Havana in 1964. Since then he has exhibited in some of the most important international venues. The Cuban booth at the XLII International Biennial Exhibition of Modern Art in Venice in 1988 was completely dedicated to his works. His work can be found in Museums and galleries in many countries including the Museo Nacional de Bellas Artes in Havana, the Musee d’Art Moderne in Paris; as well as museums in Russia, Somalia, Congo, Norway, Denmark, Finland and the U.S and other countries.



Manuel Mendive Hoyo was born on December 15, 1944, in Luyanó, the same Havana neighborhood where Wifredo Lam went back to live for a few months on his "retours au pays natal" in 1942 and where he made his first "rediscoveries" of that visual universe André Breton would later describe as an untrammelled union of real and magical worlds. It is mainly a dock and factory worker neighborhood.

Dentro de Mí, Dentro de Ti, 2004

Se Alimenta mi Espíritu 2007

 
The wooden house [where he was born] was built in 1900 by his maternal grandfather Fermín Hoyo Espelusín, a construction worker... This grandfather is the most direct family antecedent for Mendive's artistic talent, for he was also a carver and engraver. He would be sought for complicated architectural projects with decorative work and other nonfunctional aspects, such as the "Mudejar Palace" in the Plaza de las Ursulinas or the monument to General Antonio Maceo in the Havana park of the same name. During the building of the latter he was to be blinded in an accident. He was one of those anonymous master-builders who from colonial times spontaneously shaped "the style" of a city "without style" as it was aptly described by Carpentier in a memorable essay on the architecture of Havana; one of those eclectic "naifs" who were bold enough to invent scores of rare orders, with unusual, fancy columns and capitals whose design was hardly ever repeated throughout the kilometers of avenued porchways dating back to the turn of the century...
Writing about his work, the critic Edward Sullivan says, “I conceive of his work as daring, rebellious, unconventional and brave. He does not care about fashion or trends. His images, which so often incorporate and wildly transform the vestiges of African stimulus, do not appeal necessarily to those who seek the latest trend in the art world. Instead of intellectualized minimalism or hollow conceptualism, Mendive relies on the senses: thought, touch, color, breath, air, and fire”.

El Ojo que Mira I, 1985

  El Malecón de la Habana, ca.1975

Máscara (De la Serie, Para el Ojo que Mira) 1987

Barco Negrero

Performance realizado en contacto directo con la naturaleza - 1990 - Cotorro, La Habana

The Sons of Water, Talking to a Fish, 2001

Gallina 2003

Shangó y la Vida 2001

Un Vínculo Amoroso 2009

  La Flor 2000

Photo ©Ernesto Lozano Rivero

Cuban artist Manuel Mendive

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