Podcast appearances and mentions of manuel alvarez bravo

In this special extended episode UNP founder and curator Grant Scott engages in a vigorous conversation with California based curator, gallerist Peter Fetterman about the importance of passion, risk taking and empathy in photography. Peter Fetterman Born in London, Peter Fetterman has been deeply involved in the medium of photography for over thirty years. Initially a filmmaker, producer and collector, he set up his first gallery over twenty years ago. Fetterman was one of the pioneer tenants of Bergamot Station, the Santa Monica Center of the Arts when it first opened in 1994. Today, his gallery has one of the largest inventories of classic 20th Century photography in the United States particularly in humanist photography including work by Henri Cartier-Bresson, Sebastião Salgado, Steve McCurry, Ansel Adams, Paul Caponigro, Willy Ronis, André Kertesz, Manuel Alvarez Bravo and Lillian Bassman. His book The Power of Photography was published in 2022. www.peterfetterman.com Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott continues to work as a photographer, writer and filmmaker and is the Subject Coordinator for both undergraduate and post graduate study of photography at Oxford Brookes University, Oxford, England. Scott's book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on sale. © Grant Scott 2024

Noviembre es el mes de la fotografía en Francia. En ese marco abrió sus puertas este jueves la 27ª "Paris Photo". Esta concurrida feria reúne en el Grand Palais de la capital francesa a casi 200 galerías del mundo entero. Serán cuatro días para celebrar el bicentenario de la aparición de la fotografía, a los grandes artífices de este arte visual y el centenario del surrealismo, entre otros. El imponente y recién renovado Grand Palais de París vuelve a abrir sus puertas, esta vez para “Paris Photo”. Una feria masiva con 240 expositores y 195 galerías de 34 países en la nave central del edificio, lo que convierte a la capital francesa en la meca de la fotografía mundial hasta el 10 de noviembre.“Este año volvemos a este edificio increíble que es el Grand Palais. Todos los galeristas están encantados. La feria recibe al público con una referencia,“People of the XX Century” de August Sander. Celebramos el centenario de Robert Frank, tenemos como invitado al multidisciplinario Jim Jarmush con quien celebramos el centenario del surrealismo. No hay otro evento como Paris Photo que reúne a tantos actores de la fotografía, aficoinados y artistas”, aseveró a RFI la directora de Paris Photo, la española Anna Planas.Esta 27ª edición de Paris Photo pondrá de relieve la obra del mexicano Manuel Alvarez Bravo, con la exhibición de su "La buena fama durmiendo" (1938), considerada una de las primera fotografías surrealistas. La feria también estrena este año un sector llamado "Voices" (Voces), con tres curadores internacionales. Entre ellos, Elena Navarro, fundadora de Foto México, y quien representa a artistas de América Latina a través de una selección de cinco galerías, de Brasil, México, Colombia y España.“Estamos felices de volver al Grand Palais. Este edificio es magnánimo. Paris Photo es una referencia, pero también es muy importante todo el programa público de a ciudad en la promoción de la fotografía”, expresó Navarro.“Paris Photo” es uno de los eventos del mes de la fotografía en la capital francesa y se extenderá hasta el domingo 10 de noviembre.

In this 'Photo Collecting' episode UNP founder and curator Grant Scott is in his shed connecting with Peter Fetterman in Santa Monica to discuss all aspects of photo collecting, including pricing, selling, archives, keeping true to your vision, the art market and the photography gallery. Born in London, Peter Fetterman has been deeply involved in the medium of photography for over thirty years. Initially a filmmaker, producer and collector, he set up his first gallery over twenty years ago. Fetterman was one of the pioneer tenants of Bergamot Station, the Santa Monica Center of the Arts when it first opened in 1994. Today, his gallery has one of the largest inventories of classic 20th Century photography in the United States particularly in humanist photography including work by Henri Cartier-Bresson, Sebastião Salgado, Steve McCurry, Ansel Adams, Paul Caponigro, Willy Ronis, André Kertesz, Manuel Alvarez Bravo and Lillian Bassman. His book The Power of Photography was published in 2022. www.peterfetterman.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. Scott's next book Condé Nast Have Left The Building: Six Decades of Vogue House will be published by Orphans Publishing in the Spring of 2024. © Grant Scott 2023

Today we have a conversation from the San Francisco Museum of Modern Art with Dr. James Oles, guest curator for the exhibition about Diego Rivera's art from the 1920s to 1940 at the SFMOMA. Dr. James Oles is a specialist in Latin American art, focusing on modern Mexican art and architecture, through the museum as well as academic projects. His books include South of the Border: Mexico in the American Imagination, 1914-1947 (Smithsonian Institution Press, 1993); Art and Architecture in Mexico (Thames & Hudson, 2013), the first survey of its kind in some 50 years; and a monograph on the color photographs of Manuel Alvarez Bravo. Oles is guest curator for Diego Rivera's America, an in-depth exploration of the artist's work of the 1920s, 1930s, and 1940s, which opened at the San Francisco Museum of Art (SFMOMA) in July 2022, and travels to Crystal Bridges Museum of American Art in March 2023. He edited the fully illustrated scholarly catalog that accompanies this exhibition. Oles received his Ph.D. from Yale University in 1996, and now divides his time between the U.S. and Mexico. He is a senior lecturer in the Art Department at Wellesley College, and in 2002 was appointed adjunct curator of Latin American art at the Davis [...]

Manuel Alvarez Bravo, llevo su trabajo hasta el otro lado del mundo y fue reconocido como el padre la fotografía mexicana, un siglo de fotografía nos regaló y aqui te contamos un poco de él. --- Send in a voice message: https://anchor.fm/irresponsabletv/message

BMoA's current exhibition: Black & White: Photographs from the Julie Riegel and Suzette Clerou Collection features the collection of two sisters who have been collecting work since the 1970's. On display for the first time, the images by world-renowned photographers such as Richard Avedon, Brassai, Manuel Alvarez Bravo, and Nadav Kander. nearly span the entire 20th century, showcasing the technical advances and thematic exploration of black and white photography. Tune in to learn more about this unique collection and the women who amassed it.   

durée : 02:25:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Jean-François Chevrier, Brigitte Legars et Bertrand Ferriot - Avec entre autres, les voix de Robert Doisneau, Duane Michals, Guy Le Querrec, Pierre de Fenol, Aaron Siskind, Raymond Depardon, Hervé Gloaguen, Emmet Gowin, Jean Adhémar, Manuel Alvarez Bravo, Edouard Boubat, Tom Drahos, Lisette Model, Bruno Requillart, André Martin, Jean-Claude Larrieu, Willy Ronis, Jean-Claude Lemagny, Harry Gruyaert et Marc Riboud - Réalisation Patrick Martinache - réalisé par : Viginie Mourthé

A photographer's main instrument is his eyes. Strange as it may seem, many photographers choose to use the eyes of another photographer, past or present, instead of their own. Those photographers are blind."    - Manuel Alvarez Bravo b. February 4, 1902   A perfect picture with David Szweduik Embracing flaws in your cameras and lenses.

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!

Tina Modotti was born Assunta Adelaide Luigia Modotti Mondini in 1896. At the age of 16, she moved from her native Italy to the United States with her father. Modotti soon developed an interest in performing arts and appeared in several plays, operas and silent movies while living in San Francisco. Five years later, she moved to Los Angeles to pursue a career in film. Modotti became known for playing the femme fatale and in 1920 landed the staring role in The Tiger’s Coat. Tina showed an interest in photography from an early age. Her uncle Pietro Modotti ran a photography studio in Italy and later her father ran a similar studio in San Fransisco. After moving to Los Angeles with her boyfriend Robo Richey, Tina soon became friends with Edward Weston. Weston became a mentor and inspiration for Modotti’s development as a fine art photographer an by 1921 she was modeling for Weston and the two soon began an affair. Modotti’s boyfriend, Robo went to Mexico in December of 1921. Unaware of Tina’s affair with Weston, he took a portfolio of Weston’s work hoping to work out an exhibition in Mexico. While Tina was on her way to Mexico to join him, she found that he had died 2 days before her arrival of smallpox. The following year, Tina mounted a two week exhibition of Robo’s and Weston’s work at the National Academy of Fine Arts in Mexico City. Weston moved to Mexico the following year leaving behind his wife and 3 of 4 children. Tina set up and managed Edward’s studio in return for his mentoring her as a photographer. Weston was taken by Mexican culture and was inspired by local folk art and landscape. Modotti was more interested in people and the Modernest aesthetic. She soon found a community of cultural and political avant-gardists who she became closely associated with including Frida Kahlo and Diego Rivera. As her photography skills began to mature, Modotti’s work included lyrical images of peasants and workers and experiments with architectural interiors, flowers and urban landscapes. Mexican photographer Manuel Alvarez Bravo notes 2 distinctions in Modotti’s work being both “romantic” and “revolutionary”. The romantic aspects of her work undoubtedly influenced by Weston and the revolutionary from her growing interest in politics. In 1926, Weston signed a contract with writer Anita Brenner to photograph her book on Mexican folk art. Modotti and Weston were joined by Edward’s son Brett. The job was quite large requiring over 400 8×10 negatives and prints. Brett was brought up to speed at a breakneck pace and learned how to make prints while traveling through Mexico in search of lesser known native art. The project took months and by the end, Edward’s relationship with Tina was over. At the end of the project, Edward and Brett returned permanently to California. Modotti continued her works as a photographer and in 1929 did her first one-woman retrospective exhibition at the National Library which was advertised as the “First Revolutionary Photographic Exhibition In Mexico”. By this time, Tina had been a member of the Mexican Communist Party for several years and her work was very politically focused. In 1929, Modotti’s close friend Julio Antonia Mella was assassinated presumably by agents of the Cuban government. Soon there was an assassination attempt on Mexican President Pascual Ortiz Rubio and Modotti was questioned about both crimes. In 1930, she was expelled from Mexico as the result of an anti-communist and anti-imagrant press campaign. Modotti evaded police through Rotterdam, Berlin and Switzerland before making her way back to Italy to join the anti-fascist resistance before proceeding to Moscow in 1931. After this move to Russia no photographs survive and it is presumed that Moditti never photographed again. During the rise of the Spanish Civil War, Modotti left Moscow for Spain. Following the collapse of the Republican movement, she returned to Mexico under a false identity. Two years later, Modotti died under somewhat suspicious circumstances though the official autopsy indicated heart failure. She was 46. ine art photographer an by 1921 she was modeling for Weston and the two soon began an affair. MoMA Collection :: http://www.moma.org/collection/artist.php?artist_id=4039 Philadelphia Museum of Art Collections :: http://www.philamuseum.org/collections/results.html?searchTxt=modotti&keySearch=+Search+&searchNameID=&searchClassID=&searchOrigin=&searchDeptID=&accessionID=&page=1