Podcast appearances and mentions of Graciela Iturbide

Lichen is a strange presence on this planet. Traditionally, scientists have understood lichen as a new organism formed through symbiosis between a fungus and an algae. But the science is evolving. It seems that there may be more than one species of fungus involved in this symbiosis, and some scientists have suggested that lichen could be described as both an ecosystem and an organism. Lichen may even be immortal, in some sense of the word.In lichen, the poet Forrest Gander finds both the mystery of the forest and a rich metaphor for our symbiosis with one another and with the planet, for the relationship between the dead and the living, and for how our relationships with others change us indelibly. In his poem, “Forest,” lichen are a sensual presence, even erotic, living in relationship to the other beings around them. They resemble us, strangely, despite our dramatic differences.The words of the poem teem with life, like the forest they explore, and Forrest's marvelous reading of the poem adds a panoply of meanings and feelings through his annunciation, his breaths, his breaks. It's phenomenal.This poem, and his work more broadly, is about nothing less that who we are on this Earth and how we live—how we thrive—in relationship.Forrest Gander writes poetry, novels, essays, and translations. He is the recipient of many awards and honors, including a Guggenheim Fellowship and the Pulitzer Prize in poetry for his book, Be With. As an undergraduate, like me, he studied geology, which became foundational to his engagement with ecological ethics and poetics.Forrest often collaborates with other artists on books and exhibitions, including a project with the photographer Sally Mann. His latest book of poetry is a collaboration with the photographer Jack Shear, called Knot (spelled with a “k”). He recently collaborated with artist Ashwini Bhat on an exhibition at the Shoshana Wayne Gallery in Los Angeles, called “In Your Arms I'm Radiant.”His poem, “Forest,” is from his 2021 collection of poems, Twice Alive.Forrest has taught at Harvard University and Brown University. He spoke to me from his home in Northern California, where he now lives.This episode of Chrysalis is part of the Chrysalis Poets series, which focuses on a single poems from poets who confront ecological issues in their work.You can listen on Substack, Apple Podcasts, and other podcast platforms.Please rate, review, and share to help us spread the word!Forrest GanderBorn in the Mojave Desert in Barstow, California, Forrest Gander grew up in Virginia. He spend significant years in San Francisco, Dolores Hidalgo (Mexico), Eureka Springs, and Providence. With the late poet CD Wright, he has a son, the artist Brecht Wright Gander. Forrest holds degrees in both Geology and English literature. He lives now in Northern California with his wife, the artist Ashwini Bhat. Gander's book Be With was awarded the 2019 Pulitzer Prize. Concerned with the way we are revised and translated in encounters with the foreign, his book Core Samples from the World was a finalist for the Pulitzer Prize and the National Book Critics Circle Award. Gander has collaborated frequently with other artists including photographers Sally Mann, Graciela Iturbide, Raymond Meeks, and Lucas Foglia, glass artist Michael Rogers, ceramic artists Rick Hirsch and Ashwini Bhat, artists Ann Hamilton, Tjibbe Hooghiemstra, dancers Eiko & Koma, and musicians Vic Chesnutt and Brady Earnhart, among others.   The author of numerous other books of poetry, including Redstart: An Ecological Poetics and Science & Steepleflower, Gander also writes novels (As a Friend; The Trace), essays (A Faithful Existence) and translates. Recent translations include It Must Be a Misunderstanding by Coral Bracho, Names and Rivers by Shuri Kido, and Then Come Back: the Lost Neruda Poems. His most recent anthologies are Pinholes in the Night: Essential Poems from Latin American (selected by Raúl Zurita) and Panic Cure: Poems from Spain for the 21st Century.Gander's books have been translated and published in more than a dozen other languages. He is a United States Artists Rockefeller Fellow and has received fellowships from The National Endowment for the Arts and the Guggenheim, Whiting, and Howard Foundations. In 2011, he was awarded the Library of Congress Witter Bynner Fellowship. Gander was the Briggs-Copeland poet at Harvard University before becoming The Adele Kellenberg Seaver Professor of Literary Arts and Comparative Literature at Brown University where he taught courses such as Poetry & Ethics, EcoPoetics, Latin American Death Trip, and Translation Theory & Practice. He is an Emeritus Chancellor for the Academy for the Academy of American Poets and is an elected member of The Academy of Arts & Sciences.Gander co-edited Lost Roads Publishers with CD Wright for twenty years, soliciting, editing, and publishing books by more than thirty writers, including Michael Harper, Kamau Brathwaite, Arthur Sze, Fanny Howe, Frances Mayes, Steve Stern, Zuleyka Benitez, and René Char.“Forest”By Forrest GanderErogenous zones in oaks slung with stoles of lace lichen the sun's rays spilling through leaves in broken packets a force call it nighttime thrusts mushrooms up from their lair of spawn mycelial loam the whiff of port they pop into un- trammeled air with the sort of gasp that follows a fine chess move like memories are they? or punctuation? was it something the earth said to provoke our response tasking us to recall an evolutionary course our long ago initation into the one- among-others and within my newborn noticing have you popped up beside me love or were you here from the start a swarm of meaning and decay still gripping the underworld both of us half-buried holding fast if briefly to a swelling vastness while our coupling begins to register in the already awake compendium that offers to take us in you take me in and abundance floods us floats us out we fill each with the other all morning breaks as birdsong over us who rise to the surface so our faces might be sprungRecommended Readings & MediaForrest Gander reading his poem “Unto Ourselves” from Twice Alive.TranscriptIntroJohn FiegeLichen is a strange presence on this planet. Traditionally, scientists have understood lichen as a new organism formed through symbiosis between a fungus and an algae. But the science is evolving. It seems there may be more than one species of fungus involved in this symbiosis. And some scientists have suggested that lichen, and could be described as both an ecosystem and an organism. Lichen may even be immortal in some sense of the word. In lichen, the poet Forrest Gander finds both the mystery of the forest and a rich metaphor for our symbiosis with one another and with the planet, for the relationship between the dead and the living, and for how our relationships with others change us indelibly. In his poem, "Forest," lichen are an essential presence, even erotic, living in relationship to the other beings around them. They resemble us strangely, despite our dramatic differences. The words of the poem teem with life, like the forest they explore, and Forrest's marvelous reading of the poem as a panoply of meanings and feelings through his enunciation—his breaths, his breaks; it's phenomenal. This poem in his work, more broadly, is about nothing less than who we are on this earth, and how we live; how we thrive in relationship. I'm John Fiege, and this episode of Chrysalis is part of the Chrysalis Poets series. Forrest Gander writes poetry, novels, essays, and translations. He is the recipient of many awards and honors, including a Guggenheim Fellowship, and the Pulitzer Prize in poetry for his book Be With. Forrest often collaborates with other artists on books and exhibitions, including a project with a photographer Sally Mann. His latest book of poetry is a collaboration with a photographer Jack Scheer called Knot. He recently collaborated with artist Ashwini Bhat on an exhibition at the Shoshana Wayne Gallery in Los Angeles, called In Your Arms I'm Radiant. His poem, "Forest," is from his 2021 collection of poems, Twice Alive. Forrest has taught at Harvard University and Brown University. He spoke to me from his home in Northern California, where he now lives. Here is Forrest Gander reading his poem "Forest."PoemForrest Gander“Forest”Erogenous zones in oaks slung with stoles of lace lichen the sun's rays spilling through leaves in broken packets a force call it nighttime thrusts mushrooms up from their lair of spawn mycelial loam the whiff of port they pop into un- trammeled air with the sort of gasp that follows a fine chess move like memories are they? or punctuation? was it something the earth said to provoke our response tasking us to recall an evolutionary course our long ago initation into the one- among-others and within my newborn noticing have you popped up beside me love or were you here from the start a swarm of meaning and decay still gripping the underworld both of us half-buried holding fast if briefly to a swelling vastness while our coupling begins to register in the already awake compendium that offers to take us in you take me in and abundance floods us floats us out we fill each with the other all morning breaks as birdsong over us who rise to the surface so our faces might be sprungConversationJohn FiegeThank you. It's so wonderful hearing you read it, the intonation and the flow of the words and your emphasis is just like completely new hearing you read it, rather than just reading it myself. I want to start with the sexual imagery. You begin with "erogenous zones in oaks, slung with stoles of lace lichen." And that last line, "stoles of lace lichen the," that was one of the things that jumped out to me, is the is at the end of the line there. And you read it as if it was the end of the line rather than pausing and using it as part of the next stanza. But in addition to these, this erogenous zone, you've got thrusting mushrooms in a layer of spawn, and sexual imagery doesn't often accompany decomposition, and decomposers like lichen and in fungi, but this combination brings a strong sense of the interconnectedness of life and death of reproduction and decomposition. And so this is the cyclical world we live in, even though we're often myopically or delusionally, focused on some kind of progressive, linear, supernaturally immortal view of our lives. How are you imagining the reader encountering the beginning of this poem, and its images of sexually charged decomposition?Forrest GanderI'm, uh, trying to connect decomposition and eros, or the merging of more than one species, one individual, into a community. And I'm trying to use a syntax, which you notice, that also doesn't easily separate itself into clear, discrete sentences, but seems to be connected at both ends. And the sense is for us to lose our security in reading our feeling that we dominate the reading that we can figure it out quickly and divide it up into these parcels, and instead, create a kind of reading experience that mimics the kind of experience that we actually live, where everything is connected, and, and where the erotic and the decomposing are involved in the same processes.John FiegeYeah, and thanks to Governor Jerry Brown, lace lichen is now the official California state lichen making...Forrest Gander(Chuckles) Isn't that great? John Fiege...making California the first state to recognize a lichen as a state symbol. And the poem, like you were saying, how the syntax is mimicking the organic world. Visually, the line breaks and the varied intended indentations appear as local lace lichen itself. Can you talk about your relationship with lichen?Forrest GanderYes. You know, I think like you think, which is why you're doing these podcasts, that we're in an exigent historical moment where the environment is rapidly changing, and species are rapidly disappearing. And we've been hearing about this for decades without really responding in a sufficient way to the exigency of our situation. So I'm trying to find models of, instead of just heaping on more climate information horror, I'm trying to find models of other ways of thinking about our relationship with the world. And one, since I have a background in science—I have a degree in geology—is a scientific one. And I worked with a mycologist, named Anne Pringle, who taught me to see fungus and lichen in places where I hadn't been seeing them before. And it turns out lichen covers about 92% of the world you can find lichen in. And despite that, most people know what it is. They've seen, like on rocks, green, brown, little spots. It turns out, scientists don't really know what lichen is.John FiegeIt's cool to find something that scientists don't feel like they know that much about.Forrest GanderIt is! And yet, it seems like there's more more of those things that we don't really know that we can't measure, that we can't feel like we are in control of it all. And lichen is these two—more actually, it's not just an algae and cyanobacteria, or Sienna bacteria and fungus that get together it there's more organisms that are involved that come together, and are transformed completely and can't go back to what they were. And they formed this new organism that acts completely differently. And we're not so different from that, that our own bodies are full of other organisms, and even our DNA contains DNA of parasites that long ago became incorporated into our system. So lichen gives us a way of thinking about the mutualities that our lives are really made of.John FiegeYeah, and this poem, "Forest," is part of that collection, Twice Alive, where you have "Post-Fire Forest" and other poems related to wildfire and the aftermath of them, and that collection follows on the heels of your previous collection, Be With, which, you know this moving series of eulogistic poems to your late wife. It seems that Be With wrestles with and processes personal grief, while "Twice Alive" adds the element of ecological trauma. How are those two realms of trauma-related phenomena—the personal and the ecological? And how do they play out in the poem?Forrest GanderThe poems of "Be With”… they are so personally painful to me, I couldn't even read from the book after I published it. I think I read twice and then stopped reading from it. And one, as Albert Camus says, you can't live on in a grief or depression that's so terrible that it doesn't leave you with any openings. And so I wanted to find positive things to write about. But we're living during an ecological crisis. So I'm, and I've been writing about that crisis through really most of my adult life. But I wanted to find positive ways of reimagining our relationship with the world and maybe with death also. Because in lichen, and in the metaphor of like, and work, to two or more things come together and are transformed. I thought of human intimacy and the way that my relationship, my close relationships, I'm transformed in those relationships, I become something else. And that thing, which is welded in love, has a durability, and lasts. And in the same way, scientists—some scientists are saying that our whole idea of death comes out of our mammalian orientation. And that may be because some things don't die, and have theoretical immortality, and lichen, given enough nutrients, may be one of those things.John FiegeThat's amazing. How does it make you feel to think about the possibility that there's something that actually has some kind of immortality?Forrest GanderHow does it make us feel? I think it checks what we have always thought we've known. And it checks our instinctual perspective. And that kind of check, I think, is really helpful in terms of how we begin to reimagine our place in a world of other species that are completely different from us, and yet, share so much DNA.John FiegeCan you tell me about the Sangam literary traditions that you've referenced as an important element of your recent work in Eco-poetry?Forrest GanderSure! What brought me to Sangam was looking for other models of relationships between the human and the nonhuman. And it turns out that, you know, 2000 years ago, in Southern India, there was a blossoming of literature, which came to be called Sangam, which means convergence, and that one of the two styles of that poetry, which is called Akam, it was considered not only unethical but impossible to write about human emotions, as though they were independent of the landscape around us, which affects our perceptions. And, it impacts how and what we feel. And so, using that model for poems and finding that the same five landscapes that come up in the Sangam poems are the same five landscapes that one can find in California, where I live, I used those Sangam poems as a kind of model for writing poems that expressed that mutuality of, of the human and the nonhuman in the five landscapes of California in my home.John Fiegeisn't that so satisfying on so many levels to be able to look so far back in history? And to see people encountering the world in ways that are so resonant with the ways you are, we are encountering the world today in a completely different part of the planet, even? It's kind of amazing.Forrest GanderIt is! And yeah, I think it's what we will find everywhere that, you know, the Native Americans in what we now called the United States. They didn't think that these European invaders would last very long because the European invaders hadn't lived for thousands of years, with animals and plants of this continent. And so they thought we would fail. And we have failed, we've failed to live in a way that takes into account our interdependence with the nonhuman world.John FiegeWell, jumping back into the poem, your word choices and juxtapositions and the sounds, and the rhythms of the words in the poem are so powerful. Here's a section that begins at the end of a stanza and carries on to the next, "a force call it nighttime thrusts mushrooms up from their lair." I like this idea of nighttime as a force that has the power to push things up out of the earth. And nighttime is when we rest, but also maybe when we have sex, or maybe when we don't have sex often enough. But how is nighttime of force for you?Forrest GanderBecause there are so many processes, especially plant processes, that take place after the sun goes down. And that often, we're not thinking about night being a reenergizing process for other species. And also, I'm connecting nighttime, and that darkness with the half-buried to the things that go on in the dark, the things that go on underground.John FiegeRight! Well, here's another section I'd like to dig into. If you don't mind me reading, I feel bad reading your poem as you read it so beautifully, but just to go through it again. Like memories, are they or punctuation? Was it something the earth said to provoke a response, tasking us to recall an evolutionary course, our long-ago initiation into the one among others? So in this section of the poem, you shift from third person into first person plural, and we don't exactly know what the 'we' or the 'us' is, but I'm imagining it to be our species collectively speaking with the earth here. I personified a personified Earth. And each of us is merely one among others, one person among other people, but also humans are just one among many other species on the earth. So what's going on here, with the earth being provocative, the shift to first person plural, and to us thinking about our evolutionary course?Forrest GanderSo I'm thinking of mushrooms as kind of exclamation marks that come up and call our attention to the nonhuman, and also how memories are like that, that they pop up from the darkness of our mind into our conscious mind. And that, what they remind us of, what any contact with a nonhuman reminds us of, is our involvement with them; our long ago initiated course as an interdependent species, as a community in a community, that we are one among many others, as you say, and that if we forget that, then we don't take care of the earth because we don't recognize that it's part of taking care of ourselves. And for many human communities and cultures earlier, this was de rigueur, it was understood that, that we were involved. Our lives were educations in how to live with the world around us. But we've become so separated from that in our urban cultures that we need reminding.John FiegeRight, right. Well, and that reminds me of another section of the poem, we have this phrase "newborn noticing." So the stanza it's in is, "and within my newborn noticing, have you popped up beside me, my love? Or were you here from the start?" And I love this idea of newborn noticing it suggests that we're noticing a new, but also noticing, as a newborn does, like Lao says—‘newborn baby, unbiased, undistracted, nonjudgmental.' And this section feels like it touches on our deeply ingrained, anthropocentrism and ignorance of other species, and maybe how poetry can help us notice the world around us more fully, especially the other-than-human world. What is this 'newborn noticing' to you?Forrest GanderRight, I'm so glad you bring up Lao Tzu, also. Lao Tzu says, "Those who are not in constant awe; surely some great tragedy will befall them." And hear the 'newborn noticing,' again, that earlier passage you mentioned, that connects the punctuation to coming out of the ground of the mushrooms, to memories that come out of the darkness of our mind into our conscious mind. That's also the birth of something.John FiegeSo here's... oh, go ahead.Forrest GanderI just like that you've been, I mean, some people ask, you know, what can we do in this environmental crisis, and one of the things we can do is to try to have a chorus of not just scientists and biologists, but a chorus of artists and priests, and poets. And that's what you've been doing: putting together that chorus of responses to our crisis. And I think it's going to take the voices of a lot of people from a lot of different trajectories, to affect any kind of change. So I'm proud of what you're doing.John FiegeYeah, I totally agree. And I'm glad you notice and appreciate that (chuckles). You know, one thing I say all the time is, you know, our environmental discourse is dominated by science, economics, and policy. And those three things are all extremely important, and we have to keep on top of all of them. But it's leaving out the whole rest of the human experience. And if we are not all focused on this problem, and dealing with it in the ways that we know how, and the ways that we know how to interact with the world, we just... we can't get there because the problem is... it's so overwhelming as it is to leave it up to a small portion of the population to address is not sufficient,Forrest GanderRight? Or it would have changed already. And I think what art and poetry and literature can do is add a kind of an emotional and psychological approach to it, that can add it to the science, and can be more convincing,John FiegeRight? And not even just like, a way to convince people, but just a way to, to understand and feel the problem is so much beyond, you know, just a reason-based problem that you can solve or not, you know, but that it's part of who you are and what you value in the world and what you know, get you up out of bed every morning.Forrest GanderThat's beautifully put. Yeah, I agree with you.John FiegeWell, here here's another line I love from the poem, "A swarm of meaning and decay." And this goes back to that cyclical view of life and death; birth and decomposition. And it also brings in this concept of meaning—this thing that humans are obsessed with. Our perpetual question of why—what is the meaning of life? And so much of the foundation of our understanding of meaning is bound up in the perpetuation of life. And oftentimes, in the avoidance of death, despite the need for death to bring life. Can you talk more about this "swarm of meaning and decay?"Forrest GanderSo the "swarm of meaning and decay" comes just a moment after my "newborn noticing." And here, the poem merges the human—we don't really know for sure whether I'm talking about human beings, or I'm talking about other forms of life that are emerging from the underworld, like fungus, for instance. And in that merging of subjectivity and world, I'm trying to emphasize how the human life and the processes of the life—lives that aren't human—are completely related to each other. It's interesting to me that the kind of poetry that I write is sometimes categorized as eco-poetry, the idea of Eco-poetry is that there might be a way of writing in which human subjectivity and the non-human aren't so discrete from each other and that we might be able to show in writing, a different way of experiencing, or really, the real way of experiencing our relationships with otherness, which is that our subjectivities merge into otherness. That we're made of multiple creatures and were made by multiple interactions with the world. And I think that's what art has always done, is that it's expanded our way of thinking of the human.John FiegeDefinitely, definitely. Well, let me jump into the last two stanzas in the poem, which read, "And abundance floods us floats us out, we fill each with the other all morning breaks as songbird over us who rise to the surface, so our faces might be strong." And again, there's so much richness in this language. But to start off with, how does abundance, both flood us and float us?Forrest GanderWell, our lives are abundant; the world is abundant. And that sense of merging with another in intimacy, in love, and merging with the world is a sense of expanding. This, you know, the notion of the self, and that's an abundance, it's recognizing our collaborative relationship with otherness. And it floats us out of ourselves so that we're not locked into our own minds, our own singular psyches, we fill with each other. And then again, here, the syntax is working in two ways. We fill with each other, we fill with the other "all morning". And then we revise that as we, as we make that break. We fill with the other "all morning breaks as birdsong over us." And I'm thinking here about how human beings, Homo sapiens, from the start, almost all of human beings have experienced birdsong since we were born, since early in our lives. We've grown up with the songs of birds infused in our minds, in our hearing. And how much of a part of us birdsong is. We're rising to the surface like the mushrooms coming from underground to blossom so that our faces might be sprung. And here again, the human and the nonhuman? Am I talking about mushrooms here? Or am I talking about human beings? I'm purposely talking about both in a way that is perhaps indistinguishable.John FiegeAnd as you mentioned, the poem starts with the imagery of the mushrooms thrusting upward. And then, at the end here, it seems that the we in the poem rises to the surface. And the last line of the poem is, so our faces might be sprung. This sense of emergence comes to that most intimate thing—our faces—and this vague 'we' suddenly has a face. And we are like flowers or emergent mushrooms in the nighttime. Where does this poem leave you? And how do you think about where you'd like to leave the reader at the end?Forrest GanderI think in that uncertainty about where the human and where the non-human begins, I think that's the strategy of the poems, which is presenting not some romantic notion of our involvement with others, but I think a form of realism, it's recognizing that our involvement with otherness is entire, that were composed of otherness. So I think the feeling of what a mushroom is, is just the face, it's this little—fruited body, they call it—of an organism that's underground that we don't see at all. And, in a way, that's what our lives are also: this brief flourishing of the face of something that's connected to a body that's much larger than ours. And that ambiguous space is what I'm interested in, in thinking about.John FiegeAnd does that noticing or that knowledge calls us to do something? In particular, do you think?Forrest Gander  32:43Well, I don't want to turn the poem into a didacticism. But the poem presents a vision. And that vision can contribute to the way that we see ourselves in the world. And the way we see ourselves in the world forces us to make ethical decisions about how we are and what we do. So in, I want to provide a vision or share a vision. And I want readers to do with it what they feel called upon to do. There have been different ways that we've understood our relationship and our role in a living Earth, through time and in different cultures. And the worldview that we have now, which is using the Earth very transactional, can be changed. And that art can inspire us to imagine those kinds of changes. In some ways, we're like the yeast that gets put with grapes to make wine. The yeast, which is a fungus, eats the sugar, and it secretes basically alcohol. That's what where we get alcohol from, and it proliferates and proliferates, and keeps producing alcohol until at about 13%. The yeast kills itself it dies because it can't live with an alcohol content greater than that. And we're like that yeast on this earth. We're using up all of the resources, and we're proliferating, and pretty soon, there's not going to be room for us to live on the world will pollute ourselves out of existence, and the world will go on. It's just that we won't be part of it.John FiegeThat's a beautiful place to end; with yeast, and lichen, and erogenous zones. All swirling around together. Can you end by reading the poem once again?Forrest GanderSure. So, 'forest' is one of the five major landscapes that appear in the Sangam poems.[See poem as transcribed above]John FiegeForrest, thank you so much. This has been wonderful.Forrest GanderThanks a lot, John. I'm really pleased to be a part of your series and to be part of the chorus of voices that you're putting together.John FiegeAnd it's a beautiful voice that you've brought to it. OutroJohn FiegeThank you so much to Forrest Gander. Go to our website at chrysalispodcast.org, where you can read his poem "Forrest" and find our book and media recommendations. This episode was researched by Elena Cebulash and edited by Brody Mutschler and Sophia Chang. Music is by Daniel Rodriguez Vivas, mixing is by Juan Garcia. If you enjoyed my conversation with Forrest, please rate and review us on your favorite podcast platform. Contact me anytime at chrysalispodcast.org, where you can also support the project, subscribe to our newsletter, and join the conversation. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.chrysalispodcast.org

Zeke Peña is a Xicano cartoonist and illustrator who, for most of his professional life, has focused on the lives and stories of El Paso, TX, where he grew up and lived for decades. A self-taught artist with an undergraduate degree in art history from UT Austin, he has built a rich portfolio of varied works that, as he describes them, are “a mash-up of political cartoons, border rasquache and hip-hop culture.”He has illustrated several award-winning books, including “My Papi Drives a Motorcycle,” which The New York Times called a best children's book of 2019, and “Photographic: The Life of Graciela Iturbide,” a Boston Globe–Horn Book Nonfiction Award Winner and a Moonbeam Children's Book Gold Award Winner. Both were written by Isabel Quintero, who has become a close collaborator. In 2023 he illustrated bestselling author Jason Reynolds' “Miles Morales Suspended: A Spider-Man Novel.” His editorial work has appeared in a wide array of publications, including VICE, ProPublica and Latino USA. Here he describes the evolution of his ambitious journalistic endeavor, “The River Project,” about the increasingly politicized Rio Grande and all it represents. He also discusses how he's adapted to the latest moral book-banning crusade and how he wishes for publishers to honor their writers' and illustrators' collaborative spirits. https://www.zpvisual.com/

This week we chat with actor and photographer Julio Cedillo about his parallel passions for performing in and capturing moving and still images. Hear his perspectives on working alongside top cinematographers, approaching strangers in the street, and why photography serves as his creative “lifeline”. Thank you for listening to The Exposed Negative Podcast. Running this podcast takes a lot of time and effort, and we hope you have found it helpful and interesting. If you would like to support us by buying us a beer or coffee, or by helping with the running costs of the show, we would greatly appreciate it. Please consider signing up for our Patreon (https://www.patreon.com/exposednegative) or making a one-time donation through PayPal (https://www.paypal.me/exposednegative). Thank you for your support! Below the video are the show notes. Here are the shownotes; IMDB for Julio: https://www.imdb.com/name/nm0147814/ The Three Burials of Melquiades Estrada (film): https://www.imdb.com/title/tt0419294/ Cowboys and Aliens: https://www.imdb.com/title/tt1886504/?ref_=fn_al_tt_1 China Balls (lighting): https://amzn.to/491VvvF Jack Davison: https://www.instagram.com/jackdavisonphoto/ Christopher Anderson: https://www.instagram.com/christopherandersonphoto/ Jessica Lang - Photobook ‘ Mexico': https://amzn.to/3SoL8N0 Viggo Mortensen: https://www.cbsnews.com/pictures/the-art-of-viggo-mortensen/22/ Alex Webb: https://www.magnumphotos.com/photographer/alex-webb/ Graciela Iturbide - http://www.gracielaiturbide.org/en/ La Calle - Alex Web Book: https://amzn.to/3vfN9BW Ernst Hass: https://ernst-haas.com/ Photography of the set of the MIsfits: https://www.magnumphotos.com/shop/events/exhibitions/the-misfits/ Byways - Roger Deakins book: https://amzn.to/41qJQUN David Alan Harvey: https://www.davidalanharvey.com/cuba-book The Art of Kinfolk - book: https://amzn.to/3GPQ3A8 Jeff Bridges - Widelux - https://www.jeffbridges.com/aboutwidelux The Widelux Revival Project: https://silvergrainclassics.com/en/2023/07/the-widelux-revival-project/ Netflix Queue magazine: https://netflixqueue.com/ Requiem for a Dream: https://www.imdb.com/title/tt0180093/ Richard Avedon - In the American West: https://www.theguardian.com/culture/gallery/2017/feb/25/richard-avedon-american-west-texas-in-pictures Laura Wilson photography: https://en.wikipedia.org/wiki/Laura_Wilson_(photographer) Carlos Somonto (photographer): https://www.instagram.com/carlossomonte/ Roma (film): https://www.imdb.com/title/tt6155172/ Daniel Daza: https://www.instagram.com/danieldazastillphoto/?hl=en Hasselblad Xpan: https://www.hasselblad.com/about/history/xpan/ Greg's widelux work in Huck magazine: https://www.huckmag.com/article/greg-funnell-widelux-lens Greg Gaucho zine as mentioned by Julio: https://www.gregfunnell.com/shop/ Julio's instagram photo page: https://www.instagram.com/juliosfotos Julio's main instagram: https://www.instagram.com/juliocedillo/ Julio's website: http://julioactor.com/

"La Ilusa" y "La Saturnina" parecen dos pequeñas librerías de barrio situadas en Bilbao, pero en la práctica son mucho, muchísimo más que lugares donde comprar libros de fotografía, arte, narrativa o poesía. Son espacios donde bulle la creatividad, rincones en los que perderse, encontrarse y descubrirse, auténticos pulmones que insuflan vida a sus barrios a través de talleres, charlas y encuentros con diferentes tipos de creadores y artistas. ¿Qué es lo que lleva a sus responsables a la "locura" de abrir una librería en tiempos de Amazon? ¿De dónde vienen sus curiosos nombres? De eso y de muchas otras cosas hablamos con Beatriz Albarrán, periodista y fotógrafa responsable, junto a su hermano Sergio, de "La Ilusa", y con Vanesa Lara, fotógrafa y filóloga que prepara su tesis doctoral sobre los paralelismos literarios en la obra de la gran fotógrafa mexicana Graciela Iturbide. Presentando por Inma Barrio y Leire Etxazarra. Foto de Beatriz y Sergio Albarrán: Autorretrato. Foto de Vanesa Lara: Estela de Castro.

Comenzaremos la primera parte del programa hablando de los desacuerdos por los nuevos tramos del muro fronterizo que construirá Estados Unidos; y de la decisión del Consejo de Seguridad de la ONU de enviar ayuda militar a Haití para frenar la violencia. Hablaremos también de nueva evidencia que confirma la existencia de humanos en Norteamérica hace más de 20 mil años; y para finalizar, de los tres países latinoamericanos que acogerán parte de la Copa del Mundo 2030.    Para nuestra sección Trending in Latin America les tenemos dos conversaciones muy interesantes. Hablaremos del nuevo barco que transportará pasajeros entre Montevideo y Buenos Aires, bautizado en honor a la actriz China Zorilla. Cerraremos la emisión hablando de la fotógrafa mexicana Graciela Iturbide, ganadora del Premio William Klein. - El muro fronterizo vuelve a crear tensión entre Estados Unidos y México - Haití recibirá ayuda internacional para combatir la violencia - Científicos confirman la evidencia más antigua de humanos en Norteamérica - Tres países sudamericanos acogerán parte de la Copa del Mundo 2030 - La “gran actriz rioplatense” que será homenajeada con un buque de pasajeros - Graciela Iturbide recibe un prestigioso premio a la fotografía

Acompáñanos a descubrir la asombrosa obra de una de las fotógrafas más icónicas de nuestro tiempo. En este episodio hablaremos sobre la exposición de Graciela Iturbide en el museo de Arte Moderno de México llamada "Retratos para un ritual" que se presenta del 29 de abril y hasta el 13 de agosto de 2023.

Je vous recommande aujourd'hui l'exposition de la photographe Graciela Iturbide, qui s'intitule «Heliotropo 37 ». Le titre fait référence à la rue où se situe son studio à Mexico. C'est la première rétrospective en France consacrée à cette photographe mexicaine. Elle a une approche documentaire des choses, mais elle apporte aussi une dimension poétique. Elle a connu la notoriété en immortalisant les Indiens Seris du désert de Sonora. L'artiste a été inspirée par ses différents voyages. Elle parvient à transcender le quotidien. J'aime l'humanité qui se dégage de ses photographies. «Heliotropo 37 » de Graciela Iturbide, c'est jusqu'au 29 mai à la Fondation Cartier pour l'art contemporain dans le 14ème, métro Raspail

En esta emisión de Carrusel de las Artes acompañamos a la fotógrafa mexicana Graciela Iturbide, quien desarrolla una retrospectiva en la Fundación Cartier de la ciudad de París, Francia. ‘Heliotropo 37' reúne más de 200 imágenes tomadas en México y diversos países sobre las temáticas que han apuntado su trabajo: los pueblos indígenas, las mujeres de Juchitán, las tradiciones de México, o la fantasía en torno a la muerte.

La gran fotógrafa mexicana es objeto de una vasta retrospectiva en la Fundación Cartier de la capital francesa. “Heliotropo 37” reúne más de 200 imágenes tomadas no solo en México sino en diversos países, sobre las temáticas que han puntuado su trabajo: los pueblos indígenas, las mujeres de Juchitán, las tradiciones de México, o la fantasía en torno a la muerte. El blanco y negro que ha propulsado a Graciela Iturbide acapara los vastos espacios de la Fundación Cartier de París. La reconocida fotógrafa mexicana es la invitada de honor de este centro cultural en el marco de “Heliotropo 37”, la primera retrospectiva en Francia sobre su obra, que reúne las imágenes más impactantes de Iturbide en sus 50 años de trayectoria. Desde sus fotos de los pueblos indígenas de México, en los años 70, hasta sus clichés más recientes, pasando por su exploración de las tradiciones mexicanas o de otros países como India o Madagascar, la muestra es una oportunidad única para descubrir a esta artista de 78 años que se inició en la fotografía de la mano de otra figura mundialmente conocida, Manuel Álvarez Bravo (1902 – 2002). “Para mí la fotografía es una búsqueda de la sorpresa”, comentó Iturbide ante nuestros micrófonos. En esta entrevista repasamos con ella algunos de los mementos estelares de su carrera, como ha sido “Nuestra señora de las iguanas”, una foto que se volvió un ícono para los pueblos indígenas y que se muestra en París. Graciela Iturbide también ha trabajado los paisajes y los objetos, en una búsqueda casi espiritual, simbólica o mítica a través de la fotografía. Además de ser una figura mayor de la fotografía latinoamericana, la obra de Graciela Iturbide ha sido galardonada con el premio W. Eugene Smith en 1987 y luego con el premio Hasselblad en 2008 La exposición puede verse hasta el 29 de mayo en la Fundación Cartier de París para el arte contemporáneo.

durée : 00:53:17 - L'Heure bleue - par : Laure Adler, Céline Villegas - "Heliotropo 37" dévoile l'ensemble de l'œuvre de la photographe Graciela Iturbide jusqu'au 29 mai à la Fondation Cartier. Cette exposition-portrait est la toute première en France et l'artiste est l'invitée de l'Heure Bleue.

“Graciela Iturbide“Heliotropo 37à la Fondation Cartier pour l'art contemporain, Parisdu 12 février au 29 mai 2022Interview de Alexis Fabry, commissaire général de l'exposition,par Anne-Frédérique Fer, à Paris, le 10 février 2022, durée 16'47.© FranceFineArt.Communiqué de presseCommissaire général : Alexis FabryCommissaire associée : Marie PerennèsDu 12 février au 29 mai 2022, la Fondation Cartier pour l'art contemporain présente Heliotropo 37, la première grande exposition en France consacrée à l'ensemble de l'œuvre de la photographe mexicaine Graciela Iturbide, des années 1970 jusqu'à aujourd'hui. Pour cette véritable exposition-portrait, l'artiste nous a ouvert les portes de son studio au 37 calle Heliotropo à Mexico, l'un des chefs-d'oeuvre de l'architecte Mauricio Rocha qui conçoit également la scénographie de l'exposition. Heliotropo 37 rassemble plus de 200 images, des oeuvres les plus iconiques aux photographies les plus récentes, ainsi qu'une série en couleur réalisée spécialement pour l'exposition.«Partir avec mon appareil, observer, saisir la partie la plus mythique de l'homme, puis pénétrer dans l'obscurité, développer, choisir le symbolique… Finalement, la photographie est un rituel pour moi. » Graciela IturbideLauréate du prix W. Eugene Smith en 1987 puis du prix Hasselblad en 2008 – la plus haute distinction photographique – Graciela Iturbide (née, le 16 mai 1942 à Mexico) est une figure majeure de la photographie latino-américaine. Depuis plus de 50 ans, elle crée des images qui oscillent entre approche documentaire et regard poétique : « J'ai cherché la surprise dans l'ordinaire, un ordinaire que j'aurais pu trouver n'importe où ailleurs dans le monde ». Si elle est aujourd'hui célèbre pour ses portraits d'Indiens Seris du désert de Sonora ou ceux des femmes de Juchitán ainsi que pour ses essais photographiques sur les communautés et traditions ancestrales du Mexique, Graciela Iturbide porte également depuis toujours une attention quasiment spirituelle aux paysages et aux objets. L'exposition présente pour la première fois ces deux versants de l'oeuvre de l'artiste et en offre ainsi une vision renouvelée.[...] Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Graciela Iturbide (1942-present) is a Mexican photographer who has portrayed Mexico's challenges and surprises for more than 50 years with poetry and dedication. Her high-contrast, black and white photographs are iconic in Mexican pop culture.History classes can get a bad wrap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should.Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Sundus Hassan, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, and Ale Tejeda. Special thanks to Shira Atkins.We are offering free ad space on Wonder Media Network shows to organizations working towards social justice. For more information, please email Jenny at pod@wondermedianetwork.com.Follow Wonder Media Network:WebsiteInstagramTwitterTo take the Womanica listener survey, please visit: https://wondermedianetwork.com/survey 

I want to share with you some artworks related to Day of the Dead and Halloween, works that have an sense of mystery, which have caused not only my curiosity but that of many people ... I hope you enjoy it. Bibliography: ICP, Graciela Iturbide https://www.icp.org/browse/archive/constituents/graciela-iturbide?all/all/all/all/0 MoMA, Graciela Iturbide, Procession, Chalma, 1984 https: // www .moma.org / collection / works / 202040 Navarro, Rebeca, Thesis: Remedios Varo's Passages: Displacement, Transformation, and Transcendence, 2018 https://docs.google.com/document/d/18G8HaU_Tt-dhzdVUbW-tXbweTq2DjH1kqhOC1gPsINE/ usp = sharing Public Delivery Magazine, Diane Arbus' iconic Twins photo - What is the story behind it? https://publicdelivery.org/diane-arbus-twins/ Morgan Library, The Book of Hours of Catherine of Cleves, https://www.themorgan.org/collection/Hours-of-Catherine-of-Cleves Tate Modern, Louis Bourgeois, Maman, 1999 https://www.tate.org.uk/art/artworks/bourgeois-maman- t12625 Social Media of Arte INclusivo Podcast: INstagram: https://www.instagram.com/arteinclusivopodcast/ Facebook: https://www.facebook.com/arteinclusivopodcast Twitter: @inclusivo_arte Email: arteinclusivopodcast@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Déjame contarte sobre algunas obras con motivo de Día de los muertos y Día de brujas, que tienen un aire de misterio, que han causado no solamente mi curiosidad sino la de muchas personas... ¡Espero que lo disfrutes! Bibilografía: ICP, Graciela Iturbide https://www.icp.org/browse/archive/constituents/graciela-iturbide?all/all/all/all/0 MoMA, Graciela Iturbide, Peregrinación, Chalma, 1984 https://www.moma.org/collection/works/202040 Navarro, Rebeca, Thesis: Remedios Varo's Passages: Displacement, Transformation, and Transcendence, 2018 https://docs.google.com/document/d/18G8HaU_Tt-dhzdVUbW-tXbweTq2DjH1kqhOC1gPsINE/edit?usp=sharing Public Delivery Magazine, Diane Arbus' iconic Twins photo – What is the story behind it? https://publicdelivery.org/diane-arbus-twins/ Morgan Library, The Book of Hours of Catherine of Cleves, https://www.themorgan.org/collection/Hours-of-Catherine-of-Cleves Tate Modern, Louis Bourgeois, Maman, 1999 https://www.tate.org.uk/art/artworks/bourgeois-maman-t12625 Redes Sociales de Arte INclusivo Podcast: INstagram: https://www.instagram.com/arteinclusivopodcast/ Facebook: https://www.facebook.com/arteinclusivopodcast Twitter: @inclusivo_arte Email: arteinclusivopodcast@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

El fotógrafo, editor y profesor Pablo Chacón (Valencia, 1976) protagoniza hoy una nueva emisión de Full Frame. Chacón, colaborador habitual de medios como XLSemanal o el Diari Ara, es un fotógrafo documental que, entre otros proyectos, ha trabajado el objeto como la encarnación de la huella que han dejado personas fusiladas durante la represión posterior a la Guerra Civil en Paterna (Valencia) -"Un acto de amor"-, personas que optaron por el suicidio evocadas a través de los utensilios que usaron para ejecutarlo -"Colapso"- o los objetos plásticos hallados en el estómago de animales muertos en el Mediterráneo víctimas de la contaminación. Chacón retrata los objetos como si se fueran personas. Además, en el programa interviene Nicolás Meilán, director del Festival Veintinueve Trece Lanzarote de fotografía y artes visuales que se celebra del 8 al 13 de noviembre con la intervención de Graciela Iturbide o Pieter Hugo, entre otros. Dirige y presenta: Juan María Rodríguez Con Miguel Solís (música) Emisión: 02 / 11 / 21

Eddy nos dice qué son los escritores fantasma y quienes utilizan sus servicios; Federico Rubli, Autor del libro “Yo estuve en Avándaro”, nos cuenta, 50 años después, cómo fue este icónico festival que silenció a México, ilustrado con fotografías de Graciela Iturbide; nuestrao querido colaborador Salo Grabinsky, Consultor, Asesor y Conferencista, nos habla sobre las familias híbridas y las empresas familiares, todo esto y más con Eddy Warman de Noche.

Born in the Mojave Desert in Barstow, California, Forrest Gander grew up in Virginia and spent significant years with the poet CD Wright, in San Francisco, Dolores Hidalgo, Mexico, Eureka Springs, AR, and Providence, RI. With CD Wright, he has a son, the artist Brecht Wright Gander. Forrest holds degrees in both geology and English literature. He lives now in northern California with the artist Ashwini Bhat.Gander's book Be With was awarded the 2019 Pulitzer Prize. Concerned with the way we are revised and translated in encounters with the foreign, his book Core Samples from the World was a finalist for the Pulitzer Prize and the National Book Critics Circle Award. Gander has collaborated frequently with other artists including photographers Sally Mann, Graciela Iturbide, Raymond Meeks, and Lucas Foglia, glass artist Michael Rogers, ceramic artists Rick Hirsch and Ashwini Bhat, artists Ann Hamilton,Tjibbe Hooghiemstra, dancers Eiko & Koma, and musicians Vic Chesnutt and Brady Earnhart, among others. The author of numerous other books of poetry, including Redstart: An Ecological Poetics and Science & Steepleflower, Gander also writes novels (As a Friend; The Trace), essays(A Faithful Existence) and translates. His most recent translations are Alice Iris Red Horse: Poems of Gozo Yoshimasu, Then Come Back: the Lost Neruda Poems and Fungus Skull Eye Wing: Selected Poems of Alfonso D'Aquino. His most recent anthologies are Pinholes in the Night: Essential Poems from Latin American (selected by Raúl Zurita) and Panic Cure: Poems from Spain for the 21st Century.Gander's books have been translated and published in more than a dozen other languages. He is a United States Artists Rockefeller Fellow and has received fellowships from The National Endowment for the Arts and the Guggenheim, Whiting, and Howard Foundations. In 2011, he was awarded the Library of Congress Witter Bynner Fellowship. Gander was the Briggs-Copeland poet at Harvard University before becoming The Adele Kellenberg Seaver Professor of Literary Arts and Comparative Literature at Brown University where he taught courses such as Poetry & Ethics, EcoPoetics, Latin American Death Trip, and Translation Theory & Practice. He is a Chancellor for the Academy of American Poets and an elected member of The Academy of Arts & Sciences.

Quería ser escritora, pero una cámara de fotos cayó en sus manos y lleva más de 40 años recorriendo el mundo y congelando instantes en blanco y negro. Pepa Bueno conversa con la maestra del fotoperiodismo latinoamericano sobre el retrato, su género predilecto, sobre el periodismo que bebe del arte y sobre el poder terapéutico de una imagen.

Forrest Gander is the author of the poetry collection Twice Alive, available now from New Directions. In 2019, he was awarded the Pulitzer Prize for Poetry for his collection Be With. Gander's other books include Core Samples from the World, which was a finalist for the Pulitzer Prize and the National Book Critics Circle Award. He has collaborated frequently with other artists including photographers Sally Mann, Graciela Iturbide, Raymond Meeks, and Lucas Foglia, glass artist Michael Rogers, ceramic artists Rick Hirsch and Ashwini Bhat, artists Ann Hamilton, Tjibbe Hooghiemstra, dancers Eiko & Koma, and musicians Vic Chesnutt and Brady Earnhart, among others.  Gander was born in the Mojave Desert and grew up in Virginia. In addition to writing poetry, he has translated works by Coral Bracho, Alfonso D'Aquino, Pura Lopez-Colome, Pablo Neruda, and Jaime Saenz. The recipient of grants from the Library of Congress, the Guggenheim, Howard, Whiting, and United States Artists Foundations, he taught for many years as the AK Seaver Professor of Literary Arts & Comparative Literature at Brown University. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Launched in 2011. Books. Literature. Writing. Publishing. Authors. Screenwriters. Life. Death. Etc. Support the show on Patreon Merch www.otherppl.com @otherppl Instagram  YouTube Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Utdrag fra lydboka «Vandreutstillinger», lest av forfatter Cecilie Løveid. Om boka: «Vandreutstillinger» er en samling dikt om kunst og kunstnere, deres liv eller verker. Diktene er refleksjoner i møtet med kunsten og forsøker seg på nye helgenkåringer innenfor feltet. Løveid kommenterer like gjerne ulike kunstverk, som hun prøver å gjenskape kunstverket i teksten. Diktene inviterer leseren til refleksjoner rundt språk, politikk, og historie. Diktene i «Vandreutstillinger» omtaler kunstnere og forfattere som Gerhard Richter, Andy Warhol, William Turner, Sasha Waltz, Graciela Iturbide, Kitty Kielland, Sigbjørn Obstfelder, Gunvor Hofmo, Jonas Dahlberg, Nordahl Grieg, Helge Skodvin, Nelly Sachs, Paul Celan, Lisbeth Bodd, Angela Winkler, Peggy Guggenheim (kunstsamler), Francisco Goya, Marcel Duchamps, Marina Abramović, Jan Groth og John Donne. Løveids poesi er fabulerende. Filosofisk og leken velger hun sin egen posisjon – de stedene der hun vil forstå, og de stedene det er mulig å stå, misforstå, eller gå. Boka ble tildelt Brageprisen 2017 og Kritikerprisen 2017.

“Festival du Regard” 5ème édition, Voyages extra-ordinairesà Cergy-Pontoisedu 9 octobre au 29 novembre 2020Extrait du communiqué de presse :Direction artistique :Sylvie Hugues et Mathilde TerraubeEdito – Voyages extra-ordinairesLa photographie, dès ses origines, s'est développée autour de deux axes : la photo de famille et la photo de voyage. Que ce soient des souvenirs touristiques capturés par des amateurs ou des reportages à l'autre bout du monde, la photographie a par essence un statut associé à l'idée du déplacement, du dépaysement, de l'ailleurs… Et chaque fois, le voyage bouscule nos idées reçues et chamboule notre quotidien, loin de chez soi on oublie l'ordinaire et l'on se confronte à l'extraordinaire. C'est ce que nous avons voulu mettre en évidence ici, l'ordinaire des uns peut devenir l'extraordinaire des autres, celui des voyageurs ou des spectateurs d'une exposition photo (le Festival du Regard aménage une ancienne poste gigantesque à Cergy-Pontoise… un voyage en soi !). Car tel est le pouvoir de l'image fixe, arrêter le temps et l'espace pour en proposer une interprétation à la fois documentaire et poétique, à la fois réaliste et fictionnelle.Sylvie Hugues et Mathilde Terraube, Directrices artistiques du Festival du RegardFranceFineArt.com est partenaire média de la 5e édition du Festival du Regard.Présentation Pour sa 5ème édition, le Festival du Regard se développe et investit un nouvel espace. Après la Tour EDF l'année dernière, c'est un autre lieu emblématique de Cergy-Pontoise qui nous accueille, l'ancien bâtiment de La Poste à l'architecture typique des années 70. Sur une surface de plus de 1500 mètres carrés, seize expositions dialogueront avec les cinq expositions proposées en extérieur dans le Parc François Mitterrand et la Maison des Arts. Situé dans Cergy Grand Centre, cet espace insolite nous a inspiré la thématique de cette année : « Voyages extra-ordinaires ».Que reste-t-il de l'esprit des grands photographes voyageurs qui ont fait découvrir le monde, dans sa beauté comme dans ses violences, au moment où tout est vu, filmé, diffusé, commenté en temps réel ? Tel sera le fil conducteur de notre programmation avec l'envie de vous surprendre et de vous étonner. Et de redonner à la photo de voyage ses lettres de noblesse. En effet, aujourd'hui la photographie de voyage est confrontée à deux écueils. D'un côté, certains croient (à tort) que tout est vu et revu, comme si les regards d'auteurs et d'artistes ne nous poussaient pas chaque fois à redécouvrir différemment ce que l'on croit connaître via les déclinaisons de Google : Earth, Maps ou StreetView. De l'autre, le voyage se confond souvent avec le tourisme et la recherche du pittoresque, du croquignolet, du cliché…Face à cela, nous avons voulu redonner aux « photos de voyages » toute l'amplitude de leur champ d'action et ne pas nous cantonner à une vision classique du thème. Nos voyages seront « extra-ordinaires » autant par leurs capacités à sortir de l'ordinaire de la photo de voyage que par leur volonté d'unir la poésie et le reportage, la fiction futuriste et le témoignage, l'autobiographie subjective et le seul plaisir de la contemplation du paysage ou de l'errance. Ainsi Rémi Noël revisite, avec humour et pertinence, la mythologie américaine dans de belles photographies en noir et blanc. En revenant dans sa ville natale, Tiksi au nord de la Sibérie, Evgenia Arbugaeva nous offre autant un voyage dépaysant qu'une plongée dans les contes russes pour enfants. Vraiment extraordinaire à tous les sens du terme, le récit en images de Richard Pakqui a séjourné à Tristan da Cunha, l'île la plus isolée du monde, confetti au milieu de l'océan Atlantique. L'insularité fascine aussi Ronan Guillou qui nous livre une vision très personnelle d'Hawaï, petit bout d'Amérique au milieu du Pacifique et Jean-Christophe Béchet avec des panoramiques mystérieux des volcans d'Indonésie.Toute bonne photographie de voyage est un choix, un parti pris, une opinion personnelle sur le monde comme en témoignent les impressionnantes photographies de l'irlandais Richard Mosse au Congo, de la mexicaine Graciela Iturbide en Inde, de l'italien Giorgio Negro en Amérique du Sud et du polonais Bogdan Konopka en Chine (photographe disparu l'an dernier et à qui le festival tenait à rendre hommage). Nous allons aussi voyager dans l'espace-temps avec l'oeuvre d'anticipation signée Cédric Delsaux et sa Dark Corporation inspirée de l'univers de Star Wars. Sans oublier les pionniers, ceux qui nous ont donné envie de partir l'appareil en bandoulière : les intrépides Anita Conti et Sabine Weiss en mer et sur terre, le bohème Bernard Plossu sur les routes du Mexique ou l'aventureux Max Pam en Asie du Sud Est. Focus sur un voyage particulier, celui de Vivian Maier et son retour en France, après son tour du monde en 1958, où elle immortalise les gens du Champsaur, mais aussi plus contemporain, sur les communautés de femmes de trois continents photographiées avec justesse par Françoise Nunez. Voyages sur tous les continents et avec de multiples écritures photographiques y compris dans les pays où on ne peut pas photographier librement comme en témoigne avec habileté Davide Monteleone, photographe de l'agence Vu', profitant d'un voyage en train en Corée du Nord. « Voyages extra-ordinaires » également dans les procédés : les tirages raffinés du Maroc réalisés par FLORE sont saupoudrés de nacre, matérialisation du souvenir ; Gregor Beltzig mélange harmonieusement tirages Fresson et interventions en chambre noire sur ses carnets pour traduire son sentiment du Caucase, Eric Dessert utilise des papiers anciens datant des années 60 pour donner à ses tirages du Fleuve Jaune un aspect intemporel ; enfin les papiers albuminés du XIXème siècle réunis par Adnan Sezer nous montreront comment était le monde avant la démocratisation des vols long-courriers. Poursuivons avec l'Histoire avec un grand H, également convoquée avec Robert Kluba qui a suivi le tracé du Rideau de Fer séparant les deux Allemagnes du temps de la Guerre Froide et devenu une route de cyclotourisme, et Philippe Séclier qui a longé les côtes italiennes sur les traces de l'écrivain-poète et réalisateur Pier Paolo Pasolini à l'occasion des 45 ans de sa disparition.Une programmation de films complète notre approche de la thématique : Exotica, erotica, etc. d'EvangelianKranioti (72 minutes, 2015), Un voyage américain sur les traces de Robert Frank de Philippe Séclier (2009, 58 minutes) et Le voyage dans la lune de Georges Méliès (1902, 14 minutes).Pour célébrer ce cinquième anniversaire, le festival est heureux d'annoncer un partenariat prestigieux avec Gares & Connexions qui se matérialise par une exposition à la Gare St Lazare, point de départ de la ligne L du Transilien qui emmène les voyageurs au Festival du Regard, arrêt station Cergy-Préfecture. Notre nouveau partenariat avec la Maison des Arts de Cergy-Pontoise se concrétise par un atelier photo à destination du jeune public avec la photographe Flore et la projection de films en lien avec la thématique du festival.Durant les week-ends des rencontres avec les photographes, des visites commentées et des lectures de portfolios gratuites par des professionnels, seront organisées.Toutes les expositions sont gratuites, un catalogue est offert aux visiteurs sur simple demande. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Take a journey into the artistic sensibilities of a genuine photographic icon. This interview was conducted entirely in Spanish.

El fotógrafo argentino Walter Astrada (Buenos Aires, 1974), tres veces Premio World Press Photo, Sony World Photography o finalista en Visa pour l´image, protagoniza hoy Full Frame. Tras algunos años trabajando para Associated Press o France Press en temas sociales de gran dureza en Latinoamérica, África o Asia, Astrada inició hace cinco años un viaje solitario en moto alrededor del mundo. Junto a él, nos ocupamos de un trabajo singular de una gran fotógrafa, también latinoamericana, Graciela Iturbide (Méjico, 1942). "Asor", con fuertes vínculos familiares y personales, es uno de sus trabajos más íntimos y personales. Por último, analizamos "Acrópolis", una imagen célebre de Martin Parr que caracteriza su visión sobre las relaciones entre la imagen y la experiencia turística. Dirige y presenta: Juan María Rodríguez Con: Leire Etxazarra Emisión: 30 / 06 / 20 Puedes seguir el trabajo de Walter Astrada y colaborar con su viaje aquí: http://walterastrada.com/

El fotógrafo argentino Walter Astrada (Buenos Aires, 1974), tres veces Premio World Press Photo, Sony World Photography o finalista en Visa pour l´image, protagoniza hoy Full Frame. Tras algunos años trabajando para Associated Press o France Press en temas sociales de gran dureza en Latinoamérica, África o Asia, Astrada inició hace cinco años un viaje solitario en moto alrededor del mundo. Junto a él, nos ocupamos de un trabajo singular de una gran fotógrafa, también latinoamericana, Graciela Iturbide (Méjico, 1942). "Asor", con fuertes vínculos familiares y personales, es uno de sus trabajos más íntimos y personales. Por último, analizamos "Acrópolis", una imagen célebre de Martin Parr que caracteriza su visión sobre las relaciones entre la imagen y la experiencia turística. Dirige y presenta: Juan María Rodríguez Con: Leire Etxazarra Emisión: 30 / 06 / 20 Puedes seguir el trabajo de Walter Astrada y colaborar con su viaje aquí: http://walterastrada.com/

Eric Mencher one of my favorite photographers I discovered on Instagram .His own site Eric Mencher Photogrpahy . We talk about how he got started in photography which in his case quaintly led to photo journalism. His poetic style and the beautiful settings and backgrounds of Guatemala and Mexico among others are quite enchanting and sometimes mysterious. Here are some of his main photographic influences: Garry Winogrand, Cartier-Bresson, Robert Frank, Dorothea Lange, Tina Modotti, Graciela Iturbide, Manual Alvarez Bravo, Robert Adams, Ray Metzker, Aaron Siskind, Harry Callahan, Paul Strand, Luis Gonzalez Palma, Mario Giacomelli, Diane Arbus, Francesca Woodman, Helen Levitt, Brassaï . And one painting of hundreds: Paris Street; Rainy Day by Gustave Do yourself a favor and check out Eric's work as well as his influences. #art #photograph# Iphone #guatemala #mexico #romanticimages #impressionism --- Send in a voice message: https://anchor.fm/mark-forman0/message

Description and Notes: A portrait is so much more than a space, a subject, and a keen eye. It’s a place, a person, and a photographer’s truth. The transcript, notes, images, and discussion questions for this episode can be found on our website here. Support: Help support the fight for systemic change in Minneapolis, by donating to Reclaim the Block. Newsletter: Get the latest on all the Accession episodes, articles, interviews, and more. Social: Give us a shout out! Use #accession #accessionhomeward and #aroundtheframe! Twitter - Instagram - Facebook www.accession.fm

Descripción y notas: Un retrato es muchísimo más que un espacio, un sujeto y un buen ojo. Es un lugar, una persona y la verdad de un fotógrafo. Se puede encontrar la transcripción, los apuntes, y las preguntas para la discusión en nuestro sitio, aquí. Apoye: Ayude la lucha por el cambio sistémico en Minneapolis, donando Reclaim the Block. Newsletter: Get the latest on all the Accession episodes, articles, interviews, and more. Social: Give us a shout out! Use #accession #accessionhomeward and #aroundtheframe! Twitter - Instagram - Facebook www.accession.fm

photo by Ashwini Bhat Forrest Gander, a writer and translator with degrees in geology and literature, was born in the Mojave Desert, grew up in Virginia, and taught at Harvard and, for many years, Brown University. Among Gander’s most recent books are Be With, winner of the 2019 Pulitzer Prize, the novel The Trace, and Eiko & Koma. Gander’s recent translations include Alice Iris Red Horse: Poems by Gozo Yoshimasu and, with Patricio Ferrari, The Galloping Hour: French Poems of Alejandra Pizarnik. He has a history of collaborating with artists such as Ann Hamilton, Sally Mann, Graciela Iturbide, and Vic Chesnutt. The recipient of grants from the Library of Congress, the Guggenheim, Howard, Whiting and United States Artists Foundations, Gander lives in northern California. https://forrestgander.com/Books/Be-with-general.html https://www.ndbooks.com/book/the-trace/

La magia de lograr un retrato icónico es un arte que Juan Rodrigo Llaguno ha perfeccionado por mas de 25 años.  Llaguno es fotógrafo mexicano, nacido en Monterrey, NL. Por su lente han pasado personalidades como Octavio Paz, Leonora Carrington, Francisco Toledo, Mario Vargas Llosa, Graciela Iturbide, Julio Galán, entre muchos otros. Ha tenido exposiciones […]

Jen brings us some Chisme de la Semana on Ruby Rose, Fox's Bob's Burgers, Family Guy & Simpsons news. Magic The Gathering new comic based on Chandra Nalaar. Kristen gives us news on a Comadres y Comics event coming soon! Beer Review: Start Double IPA from Bottle Logic Brewing. Listen in on our Book Review: Photographic: The Life of Graciela Iturbide by Isabel Quintero art by Zeke Peña. On My Radar: Kristen brings us Silver Surfer Rebirth of Thanos. Sara chimes in with her selection of Isabel Quintero's Gabi, A Girl in Pieces. Juntos y Fuertes: Las Fotos Project Photography Mentoring for Teen Girls & Queer Comics Database. Learn more about your ad choices. Visit megaphone.fm/adchoices

Eric and Kelly talk good books about mental illness, dream author duos and the books they’d create, and wrap up the show highlighting some of their summer TBR titles. Sponsored by Neanderthal Opens the Door To The Universe by Preston Norton and Monday’s Note Coming by Tiffany D. Jackson, presented by Epic Reads. Hey YA is available on Apple Podcasts, Stitcher, Google Play, and right here on Book Riot. Show Notes: Leah on the Offbeat by Becky Albertalli Mirage by Somiya Daud Photographic: The Life of Graciela Iturbide by Isabel Quintero and Zeke Pena I Stop Somewhere by TE Carter "Twitter 10 years ago" search Don't Call Me Crazy: 33 Voices Start The Conversation About Mental Health edited by Kelly Jensen The Memory of Light by Francisco X Stork The First Time She Drowned by Kerry Kletter Crazy by Amy Reed My Heart and Other Black Holes by Jasmine Warga Queens of Geek by Jen Wilde The Rest of Us Just Live Here by Patrick Ness This Impossible Light by Lily Myers A World Without You by Beth Revis When Reason Breaks by Cindy L. Rodriguez Highly Illogical Behavior by John Corey Whaley Something Like Normal by Trish Doller Life Inside My Mind edited by Jessica Burkhart What If It's Us by Becky Albertalli and Adam Silvera Burn for Burn (trilogy) by Jenny Han and Siobhan Vivian Roomies by Sara Zarr and Tara Altebrando My Lady Jane by Cynthia Hand, Brodi Ashton, Jodi Meadows Tell Me No Lies by Adele Griffin Here To Stay by Sara Farizan Contagion by Erin Bowman Our Stories Our Voices: 21 YA Authors Get Real About Injustice, Empowerment, and Growing Up Female in America edited by Amy Reed. Hullmetal Girls by Emily Skruskie Jack of Hearts and Other Parts by Lev AC Rosen The Unfortunates by Kim Liggett Give Me Your Hand by Megan Abbott  

"That's when I came to learn more about Graciela Iturbide, Tina Modotti, Lola Alvarez Bravo…that kicked in this interest or appetite in what else is going on in other places…" Verónica Sanchis Bencomo founded Foto-Féminas as a way to promote the work being done by female photographers working in Latin America and the Caribbean. It was while growing up in Venezuela and witnessing political turmoil that Verónica became acutely aware that the media could be a powerful tool for giving voice to those with little power or means to be heard. It was then through her photographic work with an NGO in Chile that cared for young burn victims, that Verónica became more interested in learning about female photographers who worked in Latin America. Links http://www.veronicasanchis.com/ https://foto-feminas.com/ https://foto-feminas.com/contact/ (click here to donate to the library or to submit your work proposal) https://www.instagram.com/veronicasanchis/ https://twitter.com/VeronicaSanchis https://www.facebook.com/FotoFeminas/ https://twitter.com/FotoFeminas Visit www.thephotoshow.org realphotoshow on Twitter/IG/FB Twitter twitter.com/realphotoshow Instagram instagram.com/realphotoshow/ Facebook www.facebook.com/realphotoshow

Early Kodak advertising is mostly associated with the iconic image of the Kodak Girl. Then in the 1930s, Eastman Kodak Company turned their advertising campaigns over to the New York advertising agency J. Walter Thompson. How did this change affect the public image of Kodak? Claudia Pretelin, art historian, will explore this era of Kodak advertising and how it created the basis for the so-called snapshot aesthetic. Claudia Pretelin holds a BA in communications and received her MA and PhD in art history from the National Autonomous University of Mexico (UNAM). For ten years, she worked as a personal assistant to the Mexican photographer Graciela Iturbide. In 2011, she was awarded a fellowship from the Mexican National Council of Science and Technology (CONACYT) in support of her continuing research in Kodak advertising at the George Eastman Museum. She has worked for different museums, foundations, and photo collections in Mexico City, including the Fotoseptiembre Festival in 1999 and the International Biennial of Photography in 2000. She is currently exhibitions associate at the Rochester Contemporary Art Center in Rochester, New York.

A little behind the scenes on the Artist Series. If you haven’t seen the Artist Series on Graciela Iturbide check it out! This has been an amazing project and it was a complete honor to work with Graciela Iturbide on this short film. Extra special thanks to Doug Hall, Ruth Alegria, Oswaldo Ruiz, Patricia Conde and of course to Graciela. Music from Epidemic Sound: https://goo.gl/v5wWKr

Graciela Iturbide is one of the great contemporary photographers of Mexico. As a protégé of the modernest master Manuel Alvarez Bravo, she worked as his assistant before starting her own career in photography in the early 1970’s. Working mostly in large-scale documentary projects, she was commissioned in 1978 by the Ethnographic Archive of the National Indigenous Institute of Mexico to photograph Mexico’s indigenous population. The resulting project photographing the Seri Indians yielded one of her most iconic works, Mujer ángel, Desierto de Sonora in 1979. She has worked in her native Mexcio as well as Cuba, East Germany, India, Madagascar, Hungary, Paris and the United States. She was the recipient of the W Eugene Smith grant in 1971 and the prestigious Hasselblad award in 2008. Music from Epidemic Sound: https://goo.gl/v5wWKr The Artist Series is made possible by the people who support the show. Thank you!

The Artist Series starts tomorrow. First up will be Graciela Iturbide who is one of the most important photographers in the lineage of Mexican photography. Here is a bit of context on her photographs to get you familiar with her work. Music from Epidemic Sound: https://goo.gl/v5wWKr

The Artist Series, Season 2 – 5 photographers. Keith Carter, Graciela Iturbide, David Brookover, Lourdes Grobet and Pedro Meyer. Starts June 28 and new videos every Wednesday. I’m extremely proud of these and I hope you enjoy them. Thank you to the photography community that made this possible. These videos are for you. Music from Epidemic Sound: https://goo.gl/v5wWKr

I’ve got some news with the Artist Series – I’m in the middle of finishing the next 5 videos. Here’s a little behind-the-scenes of what’s going on. The next round of videos will feature some fabulous photographers – Keith Carter, David Brookover, Graciela Iturbide, Lourdes Grobet and Pedro Meyer. I’m really excited and there is some fantastic photography and interviews.

Mujer mística que captura el ser y sentir profundo de todo aquello que observa con su cámara.