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La Frontera Sin Sonrisa
Max Aguilera-HellwegThe original work began as a magazine assignment for the LA Times Sunday in the late 1980s.Max Aguilera-Hellweg was assigned to photograph a street corner in East LA in Boyle Heights where Mariachis congregate and wait for a passing car to stop and get hired for a party, wedding, or quinceañera. Before digital, it was expected that photographers shoot 35mm or 120mm film, and always in color. However, when Aguilera-Hellweg received this assignment, he had recently begun working in 4x5 and had wanted to experiment with Type 55 Polaroid—a film that gives you a Black and White print and a negative. After arriving in Boyle Heights, and seing the scene of Mariachis standing about, all dressed up with nowhere to go, he made the decision that the work had to be shot in black and white Polaroid 4x5 instant film.This project eventually snowballed into a more expansive project to cover the US/Mexican Border the entire length of Texas from El Paso to Matamoros. Aguilera-Hellweg traveled back and forth along the border for three weeks, setting up his 4x5 in every town he could reach on the Mexican side. Situating himself as an itinerant photographer in the town center, he would take portraits, give the Polaroid to his subject, keep the negative, and move to the next town the next day.$7,500Max Aguilera-HellwegMax Aguilera-Hellweg is a renowned photographer and filmmaker known for his unique blend of art and science. Trained as a photojournalist, his work has been featured in prestigious publications like National Geographic, The New York Times, and Life magazine. Aguilera-Hellweg's compelling images often explore the human condition, with a particular focus on medical and scientific subjects. His innovative approach includes documenting surgeries and medical procedures, offering an intimate look at the intricacies of the human body. In addition to his photography, he is also an accomplished filmmaker, bringing his keen eye for detail and storytelling to the screen. -
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"This project, the work of La Frontera, allowed me to deal with the last residue of confusion I had growing up with a white father and Mexican mother, not being told I was Mexican or had anything Mexican about me. Growing up Mexican in America is to grow up an immigrant in one’s own land. To be amputated at the hip without the language, without the culture, without a sense of history, continuity, or belonging to the rest of Latin America. Although Mexican, I walk different, I wear my jeans different, my Spanish has a Cuban, Argentinean, a Cholo, even sometimes a Catalan accent, wherever I can pick it up. As an itinerant photographer with my black cape, my wooden tripod and a state-of-the-art mahogany and titanium 4x5 field camera, my Type 55 film, I knew who I was always, and in time I finally felt comfortable in my own skin. Yo soy."
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Dr. Lakra y Graciela Iturbide
Fotografias / ConversacionGraciela Iturbide and Dr. Lakra agreed to collaborate blindly on this book project in 2016. The 20 photographs in the book were taken by Ms. Iturbide in Los Angeles, California, in 1984: the originals as Kodachrome slides, hitherto unpublished. The photographic images were printed in off-set, 4 color hand separation, from zinc plates. The plates were made and printed in Merida, Mexico. The images are hand-tipped, one to each page. The words accompanying the photographs are Dr. Lakra’s own. They were taken from a conversation that took place late one evening at La Popular, Oaxaca, on May 12th, 2016. Dr. Lakra made the end papers: a deep etch copper plate engraving printed on yellow paper. The piece by Ms. Iturbide wrote regarding her photographs was published by Luna Cornea Magazine in 1987. All text was printed in handset typography in Oaxaca. The binding, also hand made in Oaxaca, is a loose hard cover, the boards covered in printed, yellow paper with a black Percalina spine and borders. The pages are sewn by hand with black thread.
$5,000
Graciela IturbideOne of the most influential photographers active in Latin America today, Graciela Iturbide began her photographic practice in the 70s, working under legendary photographer Manuel Alvarez Bravo. Initially, Iturbide photographed everyday life in Mexico City. But, like Alvarez Bravo, she was curious about the country's culture outside the capital, especially the Native aspects celebrated by the postrevolutionary artists and intellectuals whose circle Alvarez Bravo had been part of in his youth. He encouraged her to visit pre-Hispanic communities and bring back her own interpretation of the ancient customs surviving in modern Mexico. In 1979 she notably published Juchitán de las Mujeres, a book of photographs that inspired her lifelong support of feminist causes, which came to be her most iconic body of work. She most often depicts women, believing them to embody independence and sexuality. Iturbide has documented the cultures within Mexico including, notably, Sonora Desert and Juchitán de Zaragoza. However, in her later work, Iturbide has traveled around her work documenting different cultures, including Cuba, Panama, India, Argentina, and the United States. Iturbide notably was the first living female artist to have a retrospective at the J. Paul Getty Museum in 2007, with the opening of her exhibition The Goats Dance, but has had profound success in the field of photography, having been honored with the Hasselblad award, as well as many major showings including at the Boston Museum of Fine Art in 2019, and The Cartier Foundation for Contemporary Art in 2021. -
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Max Aguilera-Hellweg and Graciela Iturbide
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"This project, the work of La Frontera, allowed me to deal with the last residue of confusion I had growing up with a white father and Mexican mother, not being told I was Mexican or had anything Mexican about me. Growing up Mexican in America is to grow up an immigrant in one’s own land. To be amputated at the hip without the language, without the culture, without a sense of history, continuity, or belonging to the rest of Latin America. Although Mexican, I walk different, I wear my jeans different, my Spanish has a Cuban, Argentinean, a Cholo, even sometimes a Catalan accent, wherever I can pick it up. As an itinerant photographer with my black cape, my wooden tripod and a state-of-the-art mahogany and titanium 4x5 field camera, my Type 55 film, I knew who I was always, and in time I finally felt comfortable in my own skin. Yo soy."
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