Graciela Iturbide (b.1942) is one of Latin America's foremost photographic artists. Her images are poetic documents that have as their themes rite and ceremony, the interaction of nature and culture, and the tensions between tradition, modernity and identity. She has won, among other major accolades, the W. Eugene Smith Award and a Guggenheim Fellowship for her work. 
Other artists in this series include: Eugene Atget, Mathew Brady, Wynn Bullock, Julia Margaret Cameron, Joan Fontcuberta, David Goldblatt, Nan Goldin, Andre Kertesz, Dorothea Lange, Mary Ellen Mark, Joel Meyerowitz, Boris Mikhailov, Lisette Model, Laszlo Moholy-Nagy, Eadweard Muybridge, Eugene Richards, W. Eugene Smith, Shomei Tomatsu, Joel-Peter Witkin

Graciela Iturbide (Phaidon 55S)

Arts & Photography

Medina, Cuauhtémoc

Individual Artists

Phaidon Inc Ltd

In the Interview, Russell Ferguson asks how the artist's identity as a cultural outsider has helped determine the path of his art over the years. Cuauhtemoc Medina's Survey identifies the threads that run through the artist's oeuvre while also sketching a political and social picture of Mexico City, the inspiration and setting for so many of his artworks. In the Focus, Jean Fisher examines the political heart of Alys's massive collaborative land art project When Faith Moves Mountains (2002). In the Artist's Choice, Augusto Monterroso's short tales capture the artist's enduring fascination with the role animals and fables play in human society, while Alys's own writings uncover the poetry in everyday phrases and seemingly spontaneous arrangements of urban life.

Francis Alÿs (Phaidon Contemporary Artists Series)

Ferguson, Russell

Fisher, Jean

History & Criticism

Phaidon Press

A fully updated edition of the artist's first comprehensive monograph, more than a decade since its original publication Francis Alÿs examines the patterns of various urban sites before weaving his own fables into their tangled social fabric with wit, sensitivity, and an acutely personal connection to his subject matter. A scene such as a Volkswagen Beetle struggling up a hill or a man pushing a block of ice can carry a message that resonates far beyond the work's simple parameters. As Alÿs puts it, 'Sometimes doing something poetic can become political, and sometimes doing something political can become poetic.' Alÿs's work has been included in the world's top international exhibitions, including the Venice Biennale, Documenta, the Carnegie International, and the São Paulo Biennal. This book features two new essays by renowned anthropologist Michael Taussig as well as new writings by the artist and exhaustive visual presentations of his recent project in Afghanistan and Iraq. The publication is timed to tie in with Alÿs's first major North American exhibition at the Los Angeles County Museum of Art opening in 2020.

Francis Alÿs - Revised and Expanded Edition (Phaidon Contemporary Artists Series)

Taussig, Michael T.

Humor & Entertainment

Working in a variety of media and a range of scales, from humble works on paper to monumental staged performances, Francis Alÿs (born 1959) has established himself as one of the world's leading contemporary artists. Based in Mexico City since 1986, the artist fashions much of his work from the street life he observes during long walks throughout the city. Bringing together a variety of participants, from Mexican sign-painters to British Guardsmen, his collaborations have produced several well-known works, including "When Faith Moves Mountains" (2002), in which he enlisted 500 volunteers to attempt to move a sand dune one foot from its original position using shovels, and "The Modern Procession" (2002), a ceremonial procession commemorating MoMA's temporary move to Queens, New York, that included a brass band and uniformed participants carrying reproductions of the Museum's most famous works across the Queensboro bridge. Published to accompany the largest retrospective of Alÿs' work to date, this publication is more a guidebook than a conventional monograph, reflecting the spirit of the artist's wandering practice. It features an introductory essay by Mark Godfrey, a curator at the Tate Modern, an index of quotes from Alÿs' previous writings and interviews compiled by Klaus Biesenbach, Director of P.S.1 Contemporary Arts Center, and descriptions of works written by Alÿs and Cuauhtémoc Medina, freelance curator and art critic, as well as responses to the artist's work from a wide range of critics and commentators.

Francis Alÿs: A Story of Deception

Kwon, Miwon

Weizman, Eyal

Groys, Boris

McDonough, Tom

BIESENBACH, KLAUS

Godfrey, Mark

Careri, Francesco

Faesler, Carla

dos Santos, Laymert

The Museum of Modern Art, New York

When Andrew Carnegie founded the Carnegie Museum of Art, his goal was to introduce the people of Pittsburgh to paintings by modern American and European artists. His vision for developing the collection program centered on purchases from an annual exhibition of modern art, now known as the Carnegie International. First held in 1896, the exhibition is the longest running survey of recent art in North America. What was modern then is contemporary in 2004, and the 54th Carnegie International promises to fulfill the exhibition's long-standing tradition of assembling the best contemporary art from around the world . A large-format, fully illustrated exhibition catalogue accompanies this tightly conceived exhibition of interrelated projects grouped around three small monographic exhibitions. These three exhibitions present the work of artists whose lengthy and influential oeuvres serve as touchstones for the larger exhibition. Catalogue entries prepared by a variety of writers with curatorial or critical expertise document the work of 40 artists from all over the world. The artists range in age from 28 to 80 and work in diverse media, including painting, sculpture, installation, performance, film, video, animation, and ceramics. (Artists will be announced in June 2004.) Each artist will be presented through a short essay accompanied by a three-page spread of color images, as well as comprehensive biographical and bibliographic information. The catalogue features an introduction by Laura Hoptman, curator, and expanded essays on three artists will punctuate the book.

54Th Carnegie International

SMITH, ELIZABETH

Hoptman, Laura

Thomas, Elizabeth

Armstrong, Richard

Mercier, Jean-Pierre

Stipancic, Branka

Collections, Catalogs & Exhibitions

Carnegie Museum Of Art

The work of Cuban artist Tania Bruguera (born 1968) researches and performs the ways in which art can be applied to collective everyday life, focusing on the transformation of emotion into political action.
Talking to Power / Hablándole al Poder surveys Bruguera’s artworks for the public sphere created between 1985 and 2017, all of which position art as a resource for social change. This collection of works offers the reader a deep understanding of the artist’s strategies for intervening in power. Richly illustrated and including rarely seen documentation of Bruguera’s actions, this volume features texts by José Luis Falconi, Grant Kester, Suzanne Lacy, Cuauhtémoc Medina and Peggy Phelan.

Tania Bruguera: Talking to Power / Hablándole al Poder (YERBA BUENA CEN)

Phelan, Peggy

Sanromán, Lucía

Kantor, Susie

Falconi, José

Kester, Grant

Lacy, Suzanne

Yerba Buena Center for the Arts

This comprehensive, 470-page survey of artistic experimentation in late twentieth-century Mexico, first published in 2007, assesses fields as diverse as painting, photography, poster design, installation, performance, experimental theater, Super-8 film, video, music and poetry. It also reconstructs ephemeral works (with the support of the artists). The three tumultuous decades between 1968 and 1997 saw the end of the PRI (Institutional Revolutionary Party) in a violent final phase that began with the 1968 Tlatelolco massacre--which brought a brutal end to the student movement of 1968--and ended with the crises that followed the 1994 Zapatista uprising in Chiapas. The Age of Discrepancies is the first visual history to cover this exciting period, and to propose a genealogy for the work that emerged from it, which is coming under increased scholarly scrutiny.

The Age of Discrepancies: Art and Visual Culture in Mexico 1968-1997

Debroise, Olivier

Turner

Cuauhtémoc Medina es uno de los críticos y curadores de arte más reconocidos en México, sin embargo, acceder a sus escritos es una tarea compleja. Sus ensayos y ponencias elaborados durante los últimos veinte años estaban desperdigados en publicaciones nacionales e internacionales o permanecían inéditos, lo que impedía un análisis amplio de su pensamiento y sus propuestas. Éstas últimas en muchas ocasiones se han convertido en exposiciones y se han hecho públicas en diferentes foros y en la docencia, pero nunca habían sido motivo de una recopilación para ser estudiadas en su conjunto.

Abuso mutuo: Ensayos e intervenciones sobre arte postmexicano (1992-2013)

The interior of the Spanish Pavilion at the 50th Venice Biennale, held this past summer, was accessible only to the Spanish public, and then only upon presentation of an official national identification card. Persons lacking this national status were refused entry. No audience witnessed the performance held in the space on May 1st, in which an old woman wearing a black hood was paid to sit silently still on a stool for an hour. In this manner, Santiago Sierra, the artist chosen to represent Spain, did as he often does in his work: he used live human beings, both witting and unwitting, to highlight the problematic nature of our global capitalist economy. In this volume we find documentation and texts on this and other works made over the past decade, including such performances as “Line of 30 cm Tattooed on a Remunerated Person” (Mexico City, 1998), “8 People Paid to Remain Inside Cardboard Boxes” (Guatemala City, 1999) and “3 People Paid to Lay Still Inside 3 Boxes During a Party” (Havana, 2000).

Santiago Sierra: 50Th Venice Biennale

Turner/Ministero de Asuntos Exteriores

As essayist Cuauhtémoc Medina puts it, "A desperate situation requires an absurd solution." On April 11, 2002, 500 volunteers (mostly students from the University of Lima) were supplied with shovels and asked to form a single line at the foot of a giant sand dune in Ventanilla, an area outside of Lima. This human comb moved the 1600-foot-long sand dune about four inches from its original position. When Faith Can Move Mountains attempts to translate social tensions into narratives that in turn intervene in the imaginary landscape of a place. Instead of following the classic model of an artist or exhibition catalogue, this book focuses on the conjunction between the social and historical conditions that the work appropriated, and the metaphoric analysis that the intervention put in motion. Through images (such as photos of the event and drawings for the project) and text (including letters and documents of the intervention) this publication, reminiscent of a science book, narrates the facts and concepts of the work.

Francis Alÿs: When Faith Can Move Mountains

Buck-Morss, Susan

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