Rebecca Cairns

Rebecca Cairns is a fine arts photographer who is currently working out of Toronto, Canada. She is studying creative photography in her second and final year of college. Over the past two years, her ongoing series of self-portraits have developed into a body of work which explores the aspects of irony, movement and time; subconsciously developing into her finding and creating her own identity. Her self-portraits are haunting and desolate explorations of personal spaces and intimate environments. She uses her subject’s body positions to reflect the unique spaces that she creates through her work.


Small Interview with Rebecca
:

Can you describe the first photos you ever took? 

To be honest, I don’t really remember when this would have occured or what the exact subject matter would have been. Though I wouldn’t be surprised if they were photographs of myself – or maybe some kind of landscape. It was in high school that I first started experimenting with photography – both analog and digital – but the portraits I took were more for the sake of experimentation. 
What are you currently working on? 

I’m currently just trying to get the final fixings completed for my upcoming solo show in Toronto. Other than that, I’ve just been signed on as an artist at “Ghost Press” and will be releasing a book through this company within the next few months. As for my actual images, I’m still shooting self portraits, as I probably always will – but I am always searching for new approaches and have been trying to incorporate other people/presences into some of my most recent images. I’ve also been experimenting a lot with darkroom prints – painting, scratching and burning the images.
In your own words, describe your work. 
Infinite, endless images and patterns, flowing out through my brain… a fixation of exploring the depths of reality (or lack thereof). 
Do you like to look at the work of other young, contemporary photographers, or do you find it distracting? 

Oh no, I absolutely love doing this. Exploring the work of others is really one of the only things I like to do even more than taking my own photographs. I think it’s an absolutely crucial thing for one to do, as well- as I believe exposing oneself to the work of others will in turn help build and expand ones awareness, knowledge and creative processes. Regardless of the reaction that the work may or may not provoke within me, I truly adore following peoples’ work and watching them grow as as artists, and as people.
Which artists do you feel most influence your work? 
As for photographers, there’s Diane Arbus, Duane Michals, Cindy Sherman, Ralph Meatyard, Joel-Peter Witkin, Francesca Woodman, Sara Moon… And writers, Charles Bukowski, Mark Z. Danielewski, John Fante, Pablo Neruda… 





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Matthew Stone


Matthew Stone is an artist and shaman. These two interconnected roles are defined by his activities as photographer, sculptor, performance artist, curator, writer, Optimist and cultural provocateur. Stone’s work and thinking goes far beyond the remit of his art, and his power of existence is recreating the role of the artist in the 21st century. Recognising this, The Sunday Times recently placed him at number one in the arts section of their “Power players under 30” list.
After Graduating from Camberwell Art School in 2004, with a first-class degree in Painting, Stone spearheaded South London’s !WOWOW! art collective, organizing guerrilla art exhibitions and throwing London’s most notorious and decadent squat parties. Dazed and Confused magazine featured the collective, claiming the children of !WOWOW! “would live on in legend for years to come.” and i-D Magazine described Matthew, saying “He gave birth to a happening, and all of a sudden, in his wake, London was exciting again.”  In 2008 — !WOWOW! took over Tate Britain — attracting a record 4,000 people, who came to witness one of his performances.
Stone’s whole being is geared toward a life lived as art. His personalised definition of Optimism as a method for avant-garde thought and art practice, inverts the nihilistic cultural dialogues of the late twentieth century to create a necessary space for vibrant new ways of being. Saatchi Online said that Stone’s work “definitely points to the art of tomorrow, I think, an immaterial quality equal parts idealist belief and cynicism, working as an alternative, very palpable reality running along the rest of society.” Esteemed curator and ex-head of the Royal Academy; Norman Rosenthal said simply “he has invented a new ‘ism’—Optimism.”
Stone has provided the soundtrack to each of close friend, designer Gareth Pugh’s fashion shows and films, and was a resident DJ at London’s legendary nightclub Boombox.
Though perhaps most known for his painfully beautiful photographic nudes, most exciting is Stone’s recent move into video. He has begun to direct his own video-based artworks as well as a rapturous, celebrated and daring directorial debut in the form of a music video for cult heroes These New Puritans. Following the video’s release, NME instantly placed Matthew at number 14 in their list of the “50 Most Fearless People In Music”.

Churning bodies dissect rhythmic windows that open onto varied states of concentrated being. A collage of  limbs and interconnected consciousness, involving and depicting transcendental states, meditations and ecstatic dance, spin into contemporary motion. The body is shown and used to free the viewer from their own. Stone’s work revolves specifically around creative interactions and community, based on the idea that individual autonomy can be successfully combined with the power of collectivity.
Recent exhibitions and performances have taken place at the Baltic, the Royal Academy, the ICA and Tate Britain.

Biography written by Karley Sciortino.






Kris Hatch


Multi-disciplinary artist, analog photographer & musician based in Somerville, Massachusetts.

About His Works: 
Still bleary-eyed and stumbling from a heavy-limbed sleep, I approached my mother with a dumbfounded wonder: “How did I get here?” The question was humored but brushed off. “No, I mean how did I get here? Why am I here?” You must forgive the ambiguity; these are the questions of a four year old, questions that struck me with equal impact every morning of my earliest years. The tangible adventure of dreams, the vibrations seen in walls, the waves perceived in the sun-laden sky are just some of the experiences that filled my being with the sense that reality was a subjective, malleable state. I had not the vocabulary to explain them, nor the acumen to know that these experiences were unique.  

Born in 1983 in the northeastern United States to a rich lineage of devout Mormons that traced back to the days of the first hardy pioneers, for many years these questions were easily quelled and explained by the fascinating theology of my heritage. This religion supplied me the symbols and vocabulary to articulate the questions that I was so innately drawn to ponder. I studied, I prayed, I sang hymns with a whole-hearted sincerity. As the days of adolescence bled into my adulthood, however, I began to feel that my vocabulary was yet again limited, that the symbols and stories so generously and fervently supplied to me by my ancestors no longer satiated me. I needed a new language. 

Years later, I have begun to find the words. As a self-taught analog photographer, as a musician, as a writer, or through whatever medium most appropriate, I find new symbols, create new mythologies and find new ways to define and explain the way I experience and understand my world. This intuitive, largely non-verbal language that I speak illuminates these questions and concepts more vividly than I ever could have anticipated. I am not yet fluent, nor do I expect to ever be, but the freedom I find as an artist to continue to search and broaden my vocabulary is more satisfying to both me and that four-year-old child than anything I’ve ever known.





Aela Labbe



Aela Labbe is photographer and dancer from Nantes, France. Her tender, often a bit blurry pictures radiate a dreamy atmosphere you can find in old fairy tales. Flower wreaths, soft colours, forests and lakes are among her main motifs.
About her work she writes:
My work consists of constructed scenes, filled with something that wavers between sorrowfulness and poignant delight and belonging to a realm where the body language and its emotions are essential.
My family is another key that unlocks the world I have created through photography; my nephews, in particular, are the main protagonists of my photographs. It was thanks to them that childhood has become a recurrent and determinant theme in my work. It is based on a different vision that aims to show a darker side, and mystery, through unconventional representations of the early time of life.
In the most recent part of my work, I tried to dramatize the relationship between humanity and nature, aiming again at objectifying my deeper and most peculiar feelings, my ethic and values, reaching a point where photography and ethereality merge imperceptibly.

Short interview:
Why and when did you start making art?
My parents are both artists in their own and singular way, my mum creates with objects and my dad with thoughts, I think this is the reason why… I was raised influenced by their art of living.
When? From a very young age… through dance first many years ago… as for photography I started about two/three years…
What kind of art do you make?
My work is made up of my memories, my emotions, my hopes, my thoughts and my inner turbulences. There is a certain wistfulness about it- a shroud of reverie perhaps.
Where do you draw your inspiration from?
Inspiration overwhelms me ceaselessly- day…and night! To create and to share my vision is a need and a purpose after which i go unwaveringly. It comes from different springs: dance, theatre, cinema, painting, history, mythology, literature, poetry and music, as well as from the place I live in (for my parents’ house is like a museum full of second-hand objects!), nature itself, as well as my travels and my family. Especially my nephews who are all over my galleries.
What does your usual workday look like?
This is a very tricky question! I have unusual workdays … Living from art isn’t an easy thing… and i’m still searching for my own way. I’m working as a freelance (as a dancer and a photographer): i teach contemporary dance, i also do performances and I’ve started to earn a living as a photographer. But i can’t say that this is something i can actually live on. I have another job, I work at night for an old grand-ma which gives me a more regular income. I don’t need much; I just need to be able to continue to create. I’m not there yet and today my future is as blurred as some of my photos…
How do you spend a perfect sunday?
For me Sunday is usually associated with melancholia… a dead day… an end… When I was living in Amsterdam I would take my byke and mingle with an anonymous crowd just to feel their energy…Well… a perfect Sunday is a day with the person I love, good dvds and food! What is your favourite taste of chocolate?
Intense Dark Chocolate
What is your favourite taste of chocolate?
Intense Dark Chocolate
Whom should we interview next?
Joanna Pallaris, I love her timeless work. I’ve never read any interview of her.
If you could have coffee with a famous artist – dead or alive – whom would you choose?
Charlie Chaplin.
What is your philosophy of life?

Daydreaming, dancing, shooting, loving, sharing.









Alison Scarpulla


‘I've lived in New York my whole life. When I was 15 I received my first 35mm SLR and entered a photography class in high school, and from then on I would carry my camera around and shoot film wherever I went! In my photography class I started experimenting in the darkroom with double exposures and different developing methods. Everything just came pretty naturally. From then on I've kind of taught myself just through trial and error’.- (Alison)

Did your pictures always have a touch of psych and morbidity or was that something you've developed rather recently?
‘Hmm, I would say always to some extent. I've had my share of psychedelic experiences growing up, ahem, and I'd have to say if anything, probably directly related to those experiences and the world it opened up for me. I didn't really have a choice’.
 I absolutely love the colour pictures from your portfolio; I like the grainy and desaturated look. Did you choose that look simply for aesthetic reasons or do they imply a personal trip down memory lane for you?
‘I guess I've always appreciated images with desaturated colours, but the colours and graininess you see in my photos comes from a mix of expired film, drug store processing, and possibly a dirty/wet lens. I really love the colours of film in general, I can never get the same warm/cool feeling or texture from digital images. You could say I'm an avid film lover. It's great to hear you get old memories from them!’  
Some of your pictures also remind me of the work of artists like Philip Ridley... there´s something unsettling going on, but you can't really put your finger on it, because it's executed in a very subtle and unique way. I was wondering what artists have influenced you, where do you get your main inspiration from?
‘Most of my inspiration comes from old books, different cultures & traditions, old films, diaries & found writings, taking midnight strolls through the woods, and just the all-round energy of nature. As for photography, The Victorian spiritualism movement and the photos that came out of it really inspire me, and I just can't get enough of photographs from the 1800s - early 1900s...but if I had to mention some artists who inspire me... Arvö Part, Natural Snow Buildings, Alejandro Jodorowsky, Joel Peter Witkin, Adelaide Hanscom Leeson, Maya Deren... to name but a few’.









Francis Viscuso

Francis Viscuso, born in Catania in November of 1980, lives and works in Rome. Graduated Art Institute of Catania and graduated in Art Criticism at the University of Rome "La Sapienza" with a thesis entitled "Joseph Cornell: journal of the ephemeral", has been pursuing for years, his artistic research , began by painting, ranging from the field of ready-made to the installation (including sound) and video. However, photography is his main means of expression. The main themes of his work are Time, Memory and Trauma and the drama in his work mixes social criticism in a study that explores the question increasingly inward looking in its relationship with the being-there. The photograph - and more generally the image itself - is not for him the possibility of contact with an alleged external reality, but rather "the light of the mind, terribly upset."
While admiring the work of photographers like Jan Saudek, Miroslav Tichý, Masao Yamamoto, Nan Goldin, Roger Ballen, Robert & Shana Parkeharrison, is painting (by Hieronymus Bosch and Rembrandt, Vermeer, Caravaggio by up to Dino Valls) its main source stimulus, along with the atmosphere evoked by the work of Joseph Cornell and Marcel Duchamp. Other important stimuli are of great thinkers: Sigmund Freud, Friedrich Wilhelm Nietzsche, Jacques Derrida, Maurice Merleau-Ponty, by poets Paul Celan, Rainer Maria Rilke, Étienne Stéphane Mallarmé, Arthur Rimbaud, Trakl, Edoardo Sanguineti, from cinema: Peter Greenaway, Lars von Trier, David Lynch, Ingmar Bergman, Andrei Tarkovsky Arsenyevich.






Helen Warner


Artists Statement
Helen Warner is a fine art photographer living and working in Belfast, Northern Ireland. Originally from Toulouse in the South West of France, Helen is a graduate of The Queen’s University of Belfast where she mastered in Cinema and Modernism. Her photography is deeply influenced by the intertwining of theatre, intricate costume making and story telling. With the use of traditional props and costumes, Helen creates fantastically freakish images which aim to recreate the opaque world of dreams. By capturing the heightened emotions of an imaginative world, she has created a collection of stills described as ‘Frozen Theater’. As incredible as it may sound, her work  is never digitally manipulated. Warner opens up a window into her world influenced by mythology and legends.


 
Helen Warner, "The most difficult challenge is to convey emotions"

Tales of magic and mysticism are the issues that abound behind the bold proposal of photographer, Helen Warner touches us with images full of intrigue inspired by the pigments used in the Baroque portrait. Warner, in his photographs using clay, oil paint and materials to shape their characters. Thus, the light becomes the main protagonist of his experiments, mostly characterized by addressing the faces of his models, his fragile skin tones, slightly distorted in order to achieve a unique thrill in his eyes. Creations in search of identity addressed in this interview.

Helen, what emerges when your passion for photography?
I've been interested in photography for quite some time, but I started doing photography seriously about two years ago.
What has captivated the discipline?
That a single photograph can bring a story in the viewer's mind, whether documentary, fashion or art, photography is more than a freeze, you can suggest a complete record, in a very imaginative. I love that.
You own a very powerful style in visual terms. Why you're doomed to portraits?
I like doing portraits, because I still think the toughest challenge is to convey emotions. There is an exchange with the models and you have to be able to create a connection for a strong feeling in the portrait. You can see a picture with amazing sets, accessories and parts that can fall into the routine, because there is no connection, no spark in the face of the models, while the simplest picture can be so strong. I like that challenge.


What do you think would be the best definition to your style?
My photographs have been described as a sort of "frozen stage" and I love that description. Theatrical, dark and romantic are the words that best fit my style. I also have said they are terrifying, but I never thought that they are.
Got a favorite session?
Each session is quite memorable, especially when you go outdoors with a somewhat crazy mind and You manage to bring it to reality, something that is always unforgettable ...
If income is, what are your most important photos ..
I am very happy with my recent one called "The frozen theater". It was so cold (-10 °), but we were determined to get the picture. Always fun to see people's reaction to a girl of Pierrot in a glass box in the woods. I also like "Preservation". I've been a bit obsessed with taxidermy glass domes and Victorian floral arrangements in glass bells. All this is fascinating to me


What equipment and post production techniques allow achieving results so seductive?
Photographed with a Canon 5d Mark II and a 28mm lens. As for post production, I do not know how to use Photoshop, so do not play an important role in my creative process. However, I rely on very basic editing. Mind you, I love photo manipulation, there are some amazing photographers who have a very intelligent approach to Photoshop. It's a completely different from mine. I concentrate on the shooting itself, getting the correct direction of light, giving meaning to the model. I try to do everything as close to my idea within my means at present.
And speaking of inspirations or latent themes for your upcoming work ...
Well, the inspiration may have different faces so it is difficult to say what inspires me. Now I am planning a series that has a very defined and hopefully finish in the spring. I'm hoping to have the correct lenses for this project. I can not reveal too much, so for now I can say that these photographs will be closer to the escapism and the various sleep stages 




Pierre Gonnord



French photographer Pierre Gonnord has produced amazing portraits -- mostly of people generally considered marginal by society's standards. Yet, the spare image of those faces with their intense, frontal gazes powerfully evokes a calm dignity and our shared humanity. It is also something that painters have done forever -- and I could not resist pairing examples of Gonnord's compelling faces alongside their "historical" cousins.

Of his work, Gonnord says: "I started on my project in 1999. For me, photography was a kind of lifeline, an opportunity to reach out to others, to approach them. I never once asked myself what I should be doing; I began with a portrait."

In the press release for Gonnord's 2005 exhibition, Jean Charles Leseaux writes: "More than faces, Pierre Gonnord has photographed encounters since 1999. Making large format colour portraits of men and women of all ages, social backgrounds and countries, Gonnord goes in search of identities, of what links all these men and women: "human-ness".


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Mark Steinmetz


In Mark Steinmetz’s photographs, young women stretch out on automobile hoods and brocade sofas, lost in thought. Old black men wear resigned expressions and baseball caps that say: “Been there.” Hitchhikers peer into the rolled-down windows of stopped cars, looking more vulnerable than menacing.
For nearly 20 years, the Athens photographer has quietly prowled the South, from Knoxville to Atlanta, capturing moments that seem ordinary at first, but slowly open to reveal a complex inner landscape of feeling and emotion
.
Influenced by Americans Lee Friedlander and Garry Winogrand (whom he met as a student in the ’80s) and French masters Atget and Cartier-Bresson, Steinmetz is a rare practitioner of the lost art of black-and-white camera work. An artist of rigor, discipline, craft and consistency, he roams the streets for his material, develops the film in his dark room and pulls his striking silver-gelatin prints by hand. His work is in the collections of America’s most important museums (the Metropolitan Museum of Art, the Museum of Modern Art and the Art Institute of Chicago). It has been published in a highly regarded trilogy of books from Nazraeli Press (“South Central,” “South East” and “Greater Atlanta”). But until just recently, the shy, 40-something, Yale-educated artist who came South to teach at the University of Tennessee and the University of Georgia hasn’t generated much of a buzz locally.
“He was right under my nose. He was 40 minutes away in Athens,” says Julian Cox, the High Museum curator of photography, “and I didn’t know what he was doing.” 


But Cox, who soon departs for San Francisco’s de Young Museum, has made it his business to acquire a dozen Steinmetz images for the High, some of which will be featured in “Beyond the Frame,” an exhibit of some 130 works from the permanent collection planned as the companion show to next year’s Cartier-Bresson retrospective. Meanwhile, viewers can see 14 Steinmetz photographs at Project Space, Jackson Fine Art’s satellite gallery on the West Side.
At a book signing and talk Saturday, Jackson Fine Art owner Anna Walker Skillman said Steinmetz was the second artist she added to her personal collection. (The first was the controversial Virginia-born artist Sally Mann.)
“I cannot say this for every artist we represent,” Skillman said. “I constantly come back to the same picture over and over again, and it just grabs me. He is a spectacular photographer.”
Though Steinmetz is best known for his Southern pictures, he eschews the regional label, with its lush landscapes and fraught politics, for a more timeless approach.
"I don’t feel like I am part of a gang of Southern photographers,” he says. “I feel more international.” (Indeed, his mother is French. His father is Dutch. And he grew up admiring the great urban photographers of France and New York.).

Steinmetz’s palette varies from the electric, white-hot incandescence of "South Central" and "South East" to the smoggy urban grays of “Greater Atlanta.” Though you can sometimes identify familiar freeways and skyscrapers in the Atlanta series, for the most part, Steinmetz purposefully controls his pictures so that they could have been taken anywhere. His next Nazraeli monograph, "The Ancient Tigers of My Neighborhood," is a collection of cat pictures taken around his Athens home.
Cox says that Steinmetz’s daily work habits remind him of the late Harry Callahan. “He’s just sort of quietly tilling his soil very, very methodically and consistently.”
“His pictures don’t call attention to themselves, just like he doesn’t call attention to himself as a person. … They require people to be quiet for a moment, and attentive.”




Antanas Sutkus


« I have spent fifty years of my creative life in town but my roots are in the countryside. If I have not grown up there, if I have not felt th trembling of the wind in the maple leaves , seen the rippling of wheat , listened to the rapping of raindrops on the roof of our barn , I would have hardly become a photographer. There was my beginnings. » (A. Sutkus)

Antanas Sutkus is considered as one of the world masters of photography and he is often called “Homer of the Lithuanian photography” due to the narrative continuity of his work which is literally a collection of small fragments of his everyday life. A vaste archive traces his creative career: he was opening new subject and analyzing it in details. His photographs overcome the limits of the local culture. For Sutkus, photography is a way to read the reality, not to remake it. The resume of his work can be done in one word – being. This is either the reality revealed by the photographer or the aesthetics of existentialism expressed in his work. It’s maybe not a chance if Sutkus, in charged of the documentation of Jean-Paul Sartre and Simone de Beauvoir during their five days visit in Lituania, created one of the most famous and expressive image of the philosopher of existentialism, known and recognized not only in Lithuania, but in other countries as well.
The most memorable works of Sutkus were created in the fifties and are linked by his opposition to standards. He became a part of the promising culture. The Lithuanian photographer defined the theme of his life during the first years of his artistic activity: his series “People of Lithuania” raised the vitality of a man above the greyness of the Soviet life.
The photographer sees the world not as some abstract substance, but as trivial everyday existence among cognizable meanings. However, a man always remains a central piece of his world. The artist opens up to his world and seeks for a feedback. To him, all human time is like breathing: every moment is important, every man that we meet in the streets is important. His language is universal; it advocates human values that are not encrusted in symbols. His universality manifests itself in documentary and very familiar milieu of everyday life. Everyone is passerby on a rural dirt road, urban street in life. Sutkus is a photographer of passerby. He is neither a hunter(à la Henri Cartier-Bresson),nor a fisherman (à la Robert Doisneau), nor a chronicler, he is a surrealist ethnographer, a sentimental psychologist, whose penetrating, piercing and at the same time unlocking gaze establishes confidence at both sides of his photographs.
Sutkus is a representative of social photography. In reality, the artist does not ‘remove’ his character from his social environment, he ‘exhibits’ him in a natural milieu. During fifty years, Sutkus took pictures and now he ceased because the social milieu has changed and he cannot find his “heros” anymore. The photographer devoted his last ten years and all his creative potential to the actualization of his archive.















Graciela Iturbide


Graciela Iturbide, a Mexican photographer, was awarded the Grant for her work in Juchitan, a small, culturally autonomous, fiercely independent city of 150,000 inhabitants 900 miles southeast of Mexico City where political, economic and social power is for the most part controlled by women.
When the Mexican painter and printmaker Francisco Toledo contacted Iturbide in 1979 to ask her to photograph life in his native Juchitán in the southern Mexican state of Oaxaca, she found a project in which to indulge her desire to photograph the vitality of women. The small city in the narrow Isthmus of Tehuantepec is the most purely indigenous community in Mexico. The Zapotec women there are economically, politically, and sexually independent and have been idealized as a source of national strength for more than a century. Their bright, embroidered apparel, rich gold ornamentation, and elaborate coiffure identify them as part of the exotic-seeming Tehuana tradition.
Iturbide’s approach to photographing life in Juchitán was not the traditional distanced one of the documentarian. She chose to get well acquainted, to make the women “complicit” in the way she would photograph them. As Iturbide said herself about her experience among the “big, strong, politicized, emancipated, wonderful women” of Juchitán, “They adopted me in a way. They let me take my pictures and let me know about the various fiestas. I would go on pilgrimages with them….It wasn’t only that they gave me permission to take photographs, they also suggested themes and showed me things. I discovered the Zapotec people through their eyes, and through my own at the same time.”
Iturbide’s photographs from Juchitán also document the region’s rich life of religion and ritual. Iturbide sees an analogy between these rituals and her own practice of taking photographs:
“It is the only way we have to transcend the mundane in life. Perhaps I have been marked by my religious education. When I was a girl, in order to get away from my family, I went to a convent to act. There was an atmosphere filled with disguises one can find years later in my work: the transvestites, the figure of death, the two faces of Janus. I don’t pretend to mythologize indigenous peoples like many people believe I do, but what I love about them is their way of mythologizing the mundane. Maybe, when you come down to it, photography serves as ritual for me.”

Graciela Iturbide
Graciela Iturbide married the architect Manuel Rocha Diaz in 1962. She had three children from this marriage. She studied cinema at the CUEC film school in the University of Mexico. Iturbide’s six year old daughter died in 1970; this led her to inner search, which in turn led her to discover her interest in photography. Between 1970 and 1971, Iturbide collaborated with famous Mexican photographer Manuel Alvarez Bravo. Additionally, she had studied filmography at Mexico’s “Centro Unversitario de Estudios Cinematograficos”, a division of the UNAM university. While working with Alvarez Bravo, she also learned photography techniques used by the celebrated photographer.
 Along with Alvarez Bravo, Iturbide began to explore Mexico’s indigenous areas–Indigenous influence would surface later on in her career as a photographer. In 1974, she received the Eugene Smith grant for humanitarian photography, and a scholarship at the Guggenheim college.
 In 1979, Iturbide was asked by a man to photograph his village. Interested by the proposal, Iturbide released her first collection, titled “Mujer Angel” (“Angel Woman”) and shot at Mexico’s portion of the Sonoran desert. Her first experience as a photographer shaped Iturbide’s views on life, making her a strong supporter of feminism.
 Some of the inspiration for her next work came from her support of feminist causes. Her well known collection, “Señora de Las Iguanas”, (“Our Lady of the Iguanas”) was shot in Juchitan, Oaxaca, a city where women dominated town life. Her work in Juchitan was not only about women, however: she also shot “Magnolia”, a photo of a man wearing a dress and looking at himself on a mirror. It was “Magnolia” that has led many photography experts to say that Iturbide also explored sexuality among Mexicans with her work.
 Graciela Iturbide liked Oaxaca, and in 1986, she returned to that area for more photos.
 Iturbide also worked in Argentina (during 1996), India (where she shot another well known photo of hers, “Perros Perdidos”, or “Lost Dogs”), and the United States, where she did her last known work, an untitled collection of photos shot in Texas.





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