Magnolia: The Imagetical Construction of a Muxe by Graciela Iturbide
This article aims to analyze the imagetic construction of the photographs Magnolia I and Magnolia II, taken in 1986, in Juchitán de Zaragoza, Isthmus of Tehuantepec, south Mexico. Tese two photographs are present in Gabriela Iturbide’s documentary photo book Juchitán de Las Mujeres. We start from a...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2021 |
| País: | Brasil |
| Institución: | Universidade de São Paulo (USP) |
| Repositorio: | ARS (São Paulo. Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:revistas.usp.br:article/168680 |
| Acceso en línea: | https://revistas.usp.br/ars/article/view/168680 |
| Access Level: | acceso abierto |
| Palabra clave: | Fotografía documental contemporánea Graciela Iturbide Muxes Identidad Fotografia documental contemporânea Identidade Contemporary Documentary Photography Identity |
| Sumario: | This article aims to analyze the imagetic construction of the photographs Magnolia I and Magnolia II, taken in 1986, in Juchitán de Zaragoza, Isthmus of Tehuantepec, south Mexico. Tese two photographs are present in Gabriela Iturbide’s documentary photo book Juchitán de Las Mujeres. We start from a contextualization of the characteristics present in the photographer’s work, as well as the singularities present in the identitary formation of the muxes, aiming to understand if the Magnolia portraits are part of an essentialist view, understanding that connotative systems are part of the interpretation of photographic language. |
|---|