National Camera

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National Camera

Photography and Mexico’s Image Environment

Roberto Tejada

Table of Contents

PRESS:
...might be good interview
viz interview

$27.50 paper
ISBN: 978-0-8166-6082-7

$82.50 cloth
ISBN: 978-0-8166-6081-0

Challenges conventional habits of discussing image, identity, and photography

In National Camera, Roberto Tejada offers a comprehensive study of Mexican photography from the early twentieth century to today, demonstrating how images have shaped identities in Mexico, the United States, and the borderlands where the two nations and cultures intersect—a place Tejada calls the shared image environment.

The “problem” of photography in Mexico, Tejada shows, reveals cross-cultural episodes that are rife with contradictions, especially in the complex terms of cultural and sexual difference. Analyzing such topics as territory, sexuality, and social and ethnic relations in image making, Tejada delves into the work of key figures such as Manuel Alvarez Bravo, Edward Weston, Tina Modotti, Marius de Zayas, and Julien Levy, as well as the Agustín Víctor Casasola Archive, the Boystown photographs, and contemporary Mexican and Latina photo-based artists.

From the Mexican Revolution of 1910–20 to the U.S.–Mexico borderlands of today, Tejada traces the connective thread that photography has provided between Mexican and U.S. American intellectual and cultural production and, in doing so, defines both nations.

Roberto Tejada is an art historian, curator, and associate professor of art and media history, theory, and criticism in the Visual Arts Department at the University of California, San Diego. A widely published poet and literary translator, he is the author of Mirrors for Gold, as well as the founder and coeditor of Mandorla: New Writing from the Americas. His monograph on the artist Celia Álvarez Muñoz for the series A Ver: Revisioning Art History is also with the University of Minnesota Press.

256 pages | 73 b&w photos | 7 x 10 | 2009

Table of Contents

Itinerary: Travels in the Image Environment

1. Tenures of Land and Light: Casasola, Revolution, and Archive

2. Experiment in Related Form: Weston, Modotti, and the Aims of Desire

3. Metropolitan Matters: Álvarez Bravo’s Mexico City

4. For History, Posterity, and Art: The Borderline Claims of Boystown

Acknowledgments
Notes
Bibliography
Index

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National Camera Photography and Mexico’s Image Environment Roberto Tejada Table of Contents PRESS: ...might be good interview viz interview		$27.50 paper ISBN: 978-0-8166-6082-7 $82.50 cloth ISBN: 978-0-8166-6081-0
Challenges conventional habits of discussing image, identity, and photography In National Camera, Roberto Tejada offers a comprehensive study of Mexican photography from the early twentieth century to today, demonstrating how images have shaped identities in Mexico, the United States, and the borderlands where the two nations and cultures intersect—a place Tejada calls the shared image environment. The “problem” of photography in Mexico, Tejada shows, reveals cross-cultural episodes that are rife with contradictions, especially in the complex terms of cultural and sexual difference. Analyzing such topics as territory, sexuality, and social and ethnic relations in image making, Tejada delves into the work of key figures such as Manuel Alvarez Bravo, Edward Weston, Tina Modotti, Marius de Zayas, and Julien Levy, as well as the Agustín Víctor Casasola Archive, the Boystown photographs, and contemporary Mexican and Latina photo-based artists. From the Mexican Revolution of 1910–20 to the U.S.–Mexico borderlands of today, Tejada traces the connective thread that photography has provided between Mexican and U.S. American intellectual and cultural production and, in doing so, defines both nations. Roberto Tejada is an art historian, curator, and associate professor of art and media history, theory, and criticism in the Visual Arts Department at the University of California, San Diego. A widely published poet and literary translator, he is the author of Mirrors for Gold, as well as the founder and coeditor of Mandorla: New Writing from the Americas. His monograph on the artist Celia Álvarez Muñoz for the series A Ver: Revisioning Art History is also with the University of Minnesota Press. 256 pages \| 73 b&w photos \| 7 x 10 \| 2009 Table of Contents Itinerary: Travels in the Image Environment 1. Tenures of Land and Light: Casasola, Revolution, and Archive 2. Experiment in Related Form: Weston, Modotti, and the Aims of Desire 3. Metropolitan Matters: Álvarez Bravo’s Mexico City 4. For History, Posterity, and Art: The Borderline Claims of Boystown Acknowledgments Notes Bibliography Index