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Sebastian Hau

ONE OF THE MOST IMPORTANT LATIN AMERICAN PHOTOBOOKS: 
Martin Parr, Horacio Fernandez, The Latin American Photobook, page 92 and 93

This issue focuses its contents on Mexico City. Part three of a monographic number featuring black-and-white photos capturing the essence of Mexican life and customs during the 1960s. Photos by acclaimed Mexican artist Nacho López, (1923-1986). This publication is featured also in "Martin Parr and Gerry Badger, A Photobook, A History, Volume II" and justifiably so, as the photography is quite stunning.

VERY SCARCE AND VERY SOUGHT-AFTER.

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.

"In 1953 Artes de México, a book-format magazine edited by Miguel Salas and designed by Vicente Rojo, began to appear. Rojo took as his model the Swiss publication 'Du', which he 'studied (and plundered) month after month.' Like 'Du', Artes de México was fundamentally visual, did not cover current events, and sought out the best contributors for its literary and graphic content. The design and editing had to be of the same high quality, which at that time meant having the images printed on the best photogravure machinery in Mexico, in the printing workshop of
Editorial Helio."
- Horacio Fernández -

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Artes de México, Mexico City. 1964. First edition, first printing.

Photo-illustrated paperback (as issued). 230 x 320 mm. 146 pages. 126 black and white photos. Photos: Nacho López. Cover: Myra Landau. Text: Martín Luis Guzmán, Salvador Novo, Agustín Yánez, Manuel Larrosa, Rudolf Peyer and Nacho López. Text in Spanish.

Condition:
Inside excellent, fresh and flawless; clean with no marks and with no foxing. Outside with excellent rear side; front cover a bit used, spine complete, but stronger used (what is quite normal for this title). Overall fine condition.

Great Latin American photo publication by Nacho Lopez - scarce opportunity.

"In the early 1960s, Rojo quit as art editor of Artes de México to concentrate on other projects such as the Era publishing house, but it seems he maintained some connection with the publication and collaborated on several issues, including this one with photos by Nacho López, a photographer with whom Rojo also made two splendid books: 'Viaje a la Tarahumara' ('Journey to the Sierra Tarahumara', 1960) and 'La última trinchera' ('The Last Trench', 1963).
As its title indicates, 'La ciudad de México Ill' ('Mexico City IlI') is one of series of monographs, the first two historical and the third one contemporary, a photographic essay with introductory texts by writers, architects, and the author of the photos, Nacho López. His article 'Yo, el ciudadano' ('I, The Citizen') begins
thus: "Dust and gasoline. Concrete, asphalt, and pavement. Iron spider webs... Rooftops bristling with antennas… A city of the world like any other: packed with people...A beautiful universal city'."
- Horacia Fernández -

"In 1953 Artes de México, a book-format magazine edited by Miguel Salas and designed by Vicente Rojo, began to appear. Rojo took as his model the Swiss publication Du, which he "studied (and plundered) month after month." Like Du, Artes de México was fundamentally visual, did not cover current events, and sought out the best contributors for its literary and graphic content. The design and editing had to be of the same high quality, which at that time meant having the images printed on the best photogravure machinery in Mexico, in the printing workshop of Editorial Helio.
Some issues of Artes de México are veritable photographic monographs, such as the magnificent
"Medio siglo de cine mexicano" (A Half-Century of Mexican Cinema, issue no. 31, 1960), and Bernice Kolko's essays "Mujeres de México" (Women of Mexico, issue no. 29, 1959) and "Mercados y mer-caderes" (Markets and Merchants, issue no. 37,
1961). In the early 1960s, Rojo quit as art editor of Artes de México to concentrate on other projects such as the Era publishing house, but it seems he maintained some connection with the publication and collaborated on several issues, including this one with photos by Nacho López, a photographer with whom Rojo also made two splendid books:
Viaje a la Tarahumara (Journey to the Sierra Tarahumara, 1960) and La última trinchera (The Last Trench, 1963).
As its title indicates, La ciudad de México III
(Mexico City III) is one of series of monographs, the first two historical and the third one contemporary, a photographic essay with introductory texts by writers, architects, and the author of the photos, Nacho López.
His article "Yo, el ciudadano" (1, The Citizen) begins thus: "Dust and gasoline. Concrete, asphalt, and pavement. Iron spider webs. ... Rooftops bristling with antennas.... A city of the world like any other: packed with people. ... A beautiful universal city." John Mraz and Alfonso Morales have studied the popular magazines to which Nacho López originally contributed, in the 1950s, the majority of the photos of La ciudad de México Ill, often in essay form. For example, in "A Day Like Any Other in the Life of the City," published in issue no. 262 (1958) of the popular magazine Siempre!, there appears, among other photos from La ciudad de México III, the one of a vendor taking a young pig to the market, captioned as "a spectacle exclusive to Mexico." In the elegant and expensive Artes de México, photographs like this need not be explained, since their Mexican-ness was taken for granted. Likewise when a photograph of a woman with the worried expression on her face was published in issue no. 378 (1950) of Mañana, it is captioned "Washerwoman." Published in Artes de México, with an article entitled "Prison of Dreams," the cause of the washerwoman's concern is more important than her profession. As a long and melodramatic photo caption explains: "If she gets out of prison alive, she will be embittered.
If she dies there, she will curse the world. Her crime may have been serious or may have been petty, but prison trapped her and prison does not easily let its prey escape."
Nacho López believed in the revelatory power of photographs, and even in their ability to reform. In
"Yo, el ciudadano," López defined the aspects of the big city that he was concerned with in his photographs in La ciudad de México III. Marginalization: "On the periphery, on the grid of chaos, the displaced...." Poverty: "Those who live beneath roofs of sheet metal and cardboard. Poverty is a faithful companion.
And to the city-dweller it gives the freedom, like the lottery, to die of hunger." Social inequality: "Some purchase heavenly glory and comfort. Only the poor go to hell, to the police precincts, behind bars, in the tenements, piled one on top of another." Dehumanization: "The city grows upwards, spreads like a voracious entelechy, and overflows, swallowing up the people in its path. ..."
The social commitment of these images is clear, but it is not enough to account for the interest of Nacho López's work. He was not exactly a photojournalist on the lookout for realistic scenes. He set up many of the situations he photographed and wrote his commentaries in the captions of magazines. Unlike other Latin American urban photographers, he avoided photographing all the ostentatious, monumental ar-chitecture. He was more interested in city-dwellers, the true protagonists of the bittersweet pages of La
ciudad de México Ill, a representation of a great city through its street life. Nacho López did show the city's residents in festive or even humorous acts, without ever avoiding, however, those political images that pointed to repression, poverty, or injustice."
(Martin Parr, Horacio Fernandez, The Latin American Photobook, page 92 and 93)

Artă, Fotografie - Cantitate: 1 - Album foto

Nacho Lopez - La ciudad de Mexico III - 1964

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