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De mooiste objecten gepresenteerd door {name}

Sebastian Hau

SUPER BEAUTIFUL PHOTOBOOK by Flor Garduño -
in EXCELLENT, LIKE NEW AND UNREAD CONDITION + SIGNED BY THE ARTIST.

Mexican photographer Flor Garduño, born 1957, is renowned as -
ONE OF THE MOST PROMINENT REPRESENTATIVES OF LATIN AMERICAN PHOTOGRAPHY.

Signed by Flor Garduno.
Signatures by this artist are very scarce.
I GUARANTEE THE AUTHENTICITY OF THE SIGNATURE.

Welcome to the 1st auction of Latin American Photobooks gathered by Anatole Desachy (France) and Ecki Heuser (Germany). Enjoy the Seminal Photobooks referenced by Horacio Fernandez in "The Latin American Photobook" published in 2011 and discover also some unknown publications including amazing pictures & innovating graphic design.

Flor Garduño is known for her black-and-white portraits of a diverse range of subjects, including indigenous people and cultures, street photography, and still lifes.
She is continuing the lineage of poet-photographers who shaped the medium in the 20th century. 
At the beginning of her fantastic career she was two years the assistant of the famous Mexican photographer Manuel Álvarez Bravo.

This is a lot by 5Uhr30.com.
We guarantee detailed and accurate descriptions, 100% transport protection, 100% transport insurance and of course combined shipping - worldwide.

Edition Braus, Heidelberg. 2002. First German edition, first printing. 

Hardcover (as issued). 310 x 305 cm. 144 pages. Photos: Flor Garduño. Text in German.

Condition:
Book inside and outside new, mint, unread; opened once for signature. Dustjacket excellent, very fresh, like new; slightest trace of use. Overall near perfect, near mint condition.

Fantastic photobook by Flor Garduño in wonderful fresh condition - 
signed by the artist: "Flor Garduño. Paris. 2016"

"Born in Mexico City, Garduño’s visual language is steeped in symbolism, ritual, and the intimate connection between humanity and nature. Her photographs convey a profound sensitivity to the mystical qualities of everyday life, often portraying familiar people and objects with a poetic intensity and reverence.
Early in her career, Garduño studied visual arts at the Antigua Academia de San Carlos and worked as a darkroom assistant to Manuel Álvarez Bravo, one of Mexico’s most revered photographers. She also studied under Hungarian photographer Kati Horna, whose influence is reflected in Garduño’s lyrical and personal approach. These formative experiences shaped both her aesthetic sensibility and technical mastery.
Garduño’s imagery is rooted in the landscapes, folklore, and people of Mexico and other parts of Latin America. Her photographs are often black and white, suffused with natural light that casts an otherworldly glow on her subjects. Whether depicting nudes, still lifes, or portraits of indigenous communities, her compositions possess a quiet power and visual elegance. As noted by writer Verónica Volkow in the introduction to Inner Light, “Each body is like a star. It radiates a beauty that emerges from an overflowing richness.”
Her work has been exhibited internationally and is included in the permanent collections of institutions such as the Art Institute of Chicago, the Israel Museum in Jerusalem, the Los Angeles County Museum of Art, the Museum Ludwig in Cologne, and the Tokyo Fuji Art Museum. Garduño’s practice continues to explore the intersection of the corporeal and the spiritual, offering deeply personal reflections on identity, femininity, and cultural heritage through a refined and timeless visual style."
(Holden Lutz Gallery)

"In 1979, Flor Garduño became an assistant to the Mexican photographer Manuel Álvarez Bravo, printing his portfolios in the darkroom for two years. In 1981, Garduño assisted Marianna Yampolsky (1925-2002) to document the indigenous people's culture and architecture in Mexico. This project was supported by the Instituto Nacional Indigenista.
Flor Garduño is known for taking black-and-white photographs consisting of fantasies, mythical and magical concepts, portraits of nudity, indigenous people and cultures, street photography, and still lifes.
Garduño's work has been exhibited in numerous museums such as the Museum of Modern Art in Mexico, New York and Chicago, as well as other museums in America and Europe. She has published four books: Magia del juego eterno (Magic of the Eternal Game) (1985), Bestiarium (1987), Testigos del tiempo (1992), and Mesteños (1994).
In 1982, Garduňo had her first solo exhibition in Mexico City, at the José Clemente Orozco Gallery. A year later, her work was presented in the exhibition Four From Mexico at the Mexican Museum in San Francisco, California.
Her travels to Guatemala, Ecuador, Peru, and Mexico consisted of black and white photographs of indigenous cultures which would appear in Magia del Juego Eterno, her first book in 1985.
The Museum of Photographic Arts in San Diego presented Garduño's earlier work categorized into three groups, called Trilogy: "Bestiarium", "Fantastic Women", and "Silent Natures" and includes 96 photographs taken in Mexico, Poland, and Switzerland.
"Bestiarium" includes her work of indigenous people of Mexico involving animals to present as symbolic attributes to the photo. One of her photos from this theme is called "Totem, Mexico" and includes a man beside a bull with a goat on standing on its back. The goat standing on the back of the bull is popular in Mexico. Her purpose in this photo was for her audience to analyze the symbolism the animals represent and to connect the viewer to a mythical world, which is why she chose the title "Totem, Mexico", and not just an ordinary nonspiritual title.
"Fantastic women" includes women and animal strength, with one of her photos "Rapto" picturing a woman holding a raptor by the tail feathers as it flaps away. Garduño's purpose in this photo is for the viewer to make both distinction and connection between the women and animal.
The third theme of the Trilogy, "Silent Natures" resembles still life's Garduño has taken. The title "Silent Natures" in Spanish is natura muerta which means dead nature, but Silent Natures better serves its purpose for relaying undead scenes.
According to writer Sylvia Wolf, Flor Garduño has always been very conscious of her own heritage and, therefore, has wanted to offer an homage to the peoples of the Americas, especially the most ancestral and isolated from Western civilization.
Concepción Bados-Ciria describes Garduño's work as emphasizing lyrical aspects of the Indians of Mesoamerica. Bados-Ciria states that the use of nudity in Garduño's work does not abandon the interior and the consciousness, but it rather praises the multiple and various bodies to challenge the dominant binary opposition body/spirit and, at the same time, she remaps a material which is cultural, historical, anthropological, sexual and racial. Bados-Ciria also mentions that Garduño's work focuses on Mexican themes, such as her photo series, "Testigos del tiempo" which has 72 photos in Latin American countries in a four-year period. 
The countries she traveled to during this period include Guatemala, Bolivia, Ecuador, and Mexico. While she visited, she stayed in homes of her subjects, sharing her photographs with them and sharing her experience. some interesting facts about her is She gave up her studies to work as a darkroom assistant for Manuel Álvarez Bravo, one of Mexico's most prestigious photographers, with whom she strengthened her photographic skills. Since then, Garduño has received numerable prizes, and her work has been exposed and published around the world."
(Wikipedia)

Fotografie, Kunst - Aantal: 1 - Gesigneerd, Stofomslag - Fotoboek

SIGNED; Flor Garduno - Flor - 2002

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Dit object is niet meer beschikbaar, maar er valt nog veel meer te ontdekken

SIGNED; Flor Garduno - Flor - 2002

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