<p>Lourdes Grobet has documented the spectacle of Mexican professional wrestling, known as lucha libre (free fighting), for more than 25 years. The only woman to have worked in such proximity to the sport, Grobet has photographed the masked luchadores in many contexts--and always in their signature disguises, which practitioners have worn since 1942, when a wrestler named El Santo stepped into a Mexico City ring wearing a silver mask, literally changing the face of the game forever. The mask, always a symbolically rich object in Mexican culture, serves both as a retreat (into anonymity) and as an attack, as a weapon with which to disconcert and terrorize the opponent. Its visual appeal, especially when set in scenarios outside the ring, was quickly apparent to Grobet, who describes El Santo as "one of the teachers that most influenced me early on." In Lucha Libre: The Family Portraits, Grobet shows the wrestlers with their mothers, wives and girlfriends, sitting for w</p>

Lucha Libre, The Family Portraits

Arts & Photography

Tonatiuh, Rafael

Individual Artists

Editorial RM

<p>There is the Day of the Dead that tourists see, and there is the Day of the Dead that is a lived ritual and a fact of life in Mexico--and it is the latter that the Spanish photojournalist Tomás Casademunt sets out to document in Death on the Altar. Casademunt's approach to this often misunderstood subject focuses on the altars that families assemble to remember and mourn the dead (rather than addressing any activity that attends them), and consequently his images are as humble and generous as the gestures they depict. Many of the shots of these domestic altars are frontal views, for Casademunt never attempts the spectacular shot, nor does he labor to insert himself into the tale. Like an ethnologist, he records a testimony without adding pictorial layers of sentiment or undue piety, so that what we get are intimate, ordinary atmospheres in which the sense of lived ritual is palpable and approachable and into which the viewer's intrusion is minimal. After seven years of explorations in villages in the states of Morelos, Michoacán, Oaxaca, Yucatán, Tlaxcala, Puebla and Guerrero, Tomás Casademunt has produced a group of photographs of great beauty and scale.</p>

Tomás Casademunt: Death on the Altar

López Casillas, Mercurio

First edition, first printing. Hardcover. Red cloth-covered boards with title stamped in black on cover and spine; no dust jacket as issued. Photographs by Christopher Anderson. Design by Christopher Anderson and Bethany Powell. Unpaginated (132 pp.), with 89 full-bleed black-and-white plates beautifully printed on heavy paper in China by Everbest Printing Corporation. 11-3/4 x 13-1/4 inches. This first edition was limited to 2000 copies. From the publisher: "Capitolio is a cinematic journey through the shadows of Caracas, Venezuela during 'revolution'. In the tradition of William Klein's New York and Robert Frank's The Americans, Magnum photographer Christopher Anderson creates an emotional portrait of a time and a place that is ripping apart at the seams. Rather than a didactic or journalistic approach, Anderson presents a poetic vision of a place where the violent and sensual coexist. The word Capitolio refers to the domed building that houses a government. In this book, Caracas itself becomes a metaphorical Capitolio. In place of walls, we have decaying modernist architecture built with [oil-industry] dollars. They seem to suggest a time of opulence, but through the cracks grows a jungle that betrays a rotting from within. The streets serve as stand-ins for the halls of this building where the human drama and political intrigue are played out."

Christopher Anderson: Capitolio

ANDERSON, Christopher

Photography & Video

Graciela Iturbide: Juchitan de las Mujeres 1979 - 1989.

Graciela Iturbide

Dark Book, The

GAMEZ

CUANDO FRIDA KAHLO MUERE DIEGO RIVERA, MARIDO, EX MARIDO Y VIUDO DE FRIDA, LE PIDE AL POETA CARLOS PELLICER QUE CONVIERTA LA CASA AZUL EN UN MUSEO PARA QUE EL PUEBLO DE MÉXICO PUEDA VISITARLA Y ADMIRAR LA OBRA DE LA ARTISTA. PELLICER SELECCIONÓ LOS CUADROS DE FRIDA QUE ESTABAN EN LA CASA, ASÍ COMO ALGUNOS DIBUJOS, FOTOS, LIBROS Y CERÁMICAS CONSERVANDO LOS ESPACIOS TAL CUAL LOS HABÍA ADAPTADO EL MATRIMONIO PARA VIVIR Y TRABAJAR. EL RESTO DE LOS OBJETOS, ROPA, DOCUMENTOS, DIBUJOS, CARTAS Y MÁS DE SEIS MIL FOTOGRAFÍAS QUE FRIDA REUNIÓ A LO LARGO DE SU VIDA, SE GUARDARON EN LOS BAÑOS CONVERTIDOS EN BODEGAS. ESTE FORMIDABLE ACERVO ESTUVO OCULTO POR MÁS DE MEDIO SIGLO. HACE POCOS AÑOS DECIDIERON ABRIR LAS BODEGAS, ARMARIOS Y BAÚLES QUE LO RESGUARDABAN. EL CONJUNTO DE IMÁGENES FOTOGRÁFICAS ES UN TESORO QUE DESVELA LOS GUSTOS E INTERESES DE LA FAMOSA PAREJA, NO SÓLO EN LO QUE CUENTAN LAS IMÁGENES SINO TAMBIÉN EN LAS ANOTACIONES AL MARGEN, Y PERMITE ESPECULAR EN TORNO A SUS FOBIAS Y ATRACCIONES, INCLUSO ES POSIBLE DOCUMENTAR SUS ORÍGENES FAMILIARES. LA FOTOGRAFÍA PARA FRIDA SIEMPRE ESTUVO PRESENTE, SU PADRE GUILLERMO KAHLO FUE UNO DE LOS GRANDES FOTÓGRAFOS DE PRINCIPIOS DEL SIGLO XX MEXICANO, DE ÉL CONSERVÓ ALGUNAS IMÁGENES DE ARQUITECTURA COLONIAL Y UN BUEN NÚMERO DE AUTORRETRATOS. EN LA COLECCIÓN DE FRIDA HAY UNA LISTA DE GRANDES FOTÓGRAFOS: MAN RAY, BRASSAÏ, MARTIN MUNKACSI, PIERRE VERGER, GEORGE HURREL, TINA MODOTTI, EDWARD WESTON, MANUEL Y LOLA ÁLVAREZ BRAVO, GISÈLE FREUND Y MUCHOS OTROS, ENTRE ELLOS LA PROPIA FRIDA KAHLO. ES PROBABLE QUE ELLA HICIERA VARIAS DE LAS FOTOS DE LA COLECCIÓN, AUNQUE ESTAMOS SEGUROS DE SU AUTORÍA SÓLO EN UNAS CUANTAS QUE DECIDIÓ FIRMAR EN 1929.

Frida Kahlo: Sus Fotos

Pablo Ortiz Monasterio

El Eternauta

Comics & Graphic Novels

Oesterlheld, H?ctor G. / Solano L?pez, Francisco (il.)

Graphic Novels

POSADA Y MANILLA

Rulfo

Painting

Posada. 100 años de calavera

Guzmán, Xavier

Frida by Ishiuchi

Ishiuchi, Miyako

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