Nacho Lopez, Mexican Photographer
University of Minnesota Press, 2003
Paper: 978-0-8166-4048-5 | Cloth: 978-0-8166-4047-8
Library of Congress Classification TR820.M8499 2003
Dewey Decimal Classification 770.92
ABOUT THIS BOOK
ABOUT THIS BOOK
Reveals the career of an influential but underappreciated photojournalist.
Photographer Nacho LÃ³pez was Mexico's Eugene Smith, fusing social commitment with searing imagery to dramatize the plight of the helpless, the poor, and the marginalized in the pages of glossy illustrated magazines. Even today, LÃ³pez's photographs forcefully belie the picturesque exoticism that is invariably presented as the essence of Mexico.
In Nacho LÃ³pez, Mexican Photographer, John Mraz offers the first full-length study in English of this influential photojournalist and provides a close visual analysis of more than fifty of LÃ³pez's most important photographs. Mraz first sets LÃ³pez's work in the historical and cultural context of the authoritarian presidentialism that characterized Mexican politics in the 1950s, the cult of wealth and celebrity promoted by Mexico's professional photographers, and the government's attempts to modernize and industrialize Mexico at almost any cost. Mraz skillfully explores the implications of LÃ³pez's imagery in this setting: the extent to which his photographs might constitute further victimization of his downtrodden subjects, the relationship between them and the middle-class readers of the magazines for which LÃ³pez worked, and the success with which his photographs challenged Mexico's economic and political structures.
Mraz contrasts the photos LÃ³pez took with those that were selected by his editors for publication. He also compares LÃ³pez's images with his theories about documentary photography, and considers LÃ³pez's photographs alongside the work of Robert Capa, Dorothea Lange, Henri Cartier-Bresson, and SebastiÃ£o Salgado. LÃ³pez's imagery is further analyzed in relation to the Mexican Golden Age cinema inspired by Sergei Eisenstein, the pioneering digital imagery of Pedro Meyer, and the work of Manuel Ã?lvarez Bravo, who Mraz provocatively argues was the first Mexican photographer to take an anti-picturesque stance.
The definitive English-language assessment of Nacho LÃ³pez's career, this volume also explores such broader topics as the nature of the photographic essay and the role of the media in effecting social change.
"John Mraz writes clearly and passionately. His excellent study will elevate LÃ³pez into the pantheon of photographers who have combined social commitment and artistic expression and creativity." Robert M. Levine
"If Manuel Alvarez Bravo is Mexico's version of Edward Weston, then Nacho LÃ³pez is probably the equivalent of W. Eugene Smith--that is to say, a photojournalist of international stature. Documentary photographers are all too often static bystanders, but LÃ³pez was a dynamic dissident. To appreciate his work, you have to be in possession of John Mraz's profound knowledge of Mexican social history. This is one of the most important contributions to the history of photography of the last twenty years." Mike Weaver
John Mraz is research professor at the Instituto de Ciencias Sociales y Humanidades at the Universidad AutÃ³noma de Puebla in Mexico.
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