PhotoBooks Mexico

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Photographs highlight the traditional doorways into the houses and other old buildings of the historic Mexican city.

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The Mexican state of Oaxaca is an ancient land where indigenous, pre-Columbian and colonial worlds exist side-by-side. This photo-journal reflects the spirit and traditions of a valley whose culture, beauty and hospitality have captivated travellers since the time of Cortez.

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This much in demand edition has a major feature on the newly discovered Crystal Cave of the Giants, the largest crystals on earth. This guidebook is for those wishing to experience the heart and soul of Copper Canyon and the Sierra Tarahumara. This is the first guidebook to deal exclusively with Copper Canyon, featuring all new photographs of the famous railroad trip through the Sierra Madre. Traditional Tarahumara festivals documented here have never been seen in any previous publication.

Did you ever wonder about the mysterious Anasazi? Where did they come from, what made them so special and where did they go? This new book rewrites Anasazi theory from top to bottom. What does a traditional Tarahumara think about everyday that the Anasazi also thought about daily? This book presents a completely new, original and unique analysis of the Anasazi puzzle from a Tarahumara ethnographic, historical, archaeological and scientific basis. This book may be a "shock to the system" for pre-1990s Paquime/Anasazi theory and might be considered a masterpiece of original research and mystical art in both design and photography. This outstanding guidebook also includes the unique and extensive coverage given to the Copper Canyon train trip, the Tarahumara championship runners, plus new materials on the Mystical Barrancas. 8 1/2 x 11", 140 pages, full color, perfect bound.

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This is a lavish picture book, meant to inspire and delight the reader with the vibrant colors of Mexican architecture, design, home furnishing, art, and artifact. Mexico is color incarnate, and Amanda Holmes's gorgeous full-color photographs bear this out graphically and spectacularly, showcasing everything from grand architectural facades to tiny decorating touches that enliven a corner; bring life to a small, dark room; or pull the brilliance of the sun indoors. Mexican culture uses color to dramatic effect in textiles, clothing, homes, markets, contemporary and folk art, interior design, and modern and ancient architecture. The author calls Mexico "the resting place of the rainbow," and the vibrant pictures and lively text of this beautiful book prove her right! --Mark A. Hetts

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Juan Rulfo was one of the great literary innovators of the twentieth century. His 1955 novel Pedro Páramo is considered one of the foundational classics of magic realism, predating One Hundred Years of Solitude by more than a decade. Lesser known are his haunting photographs of Mexico, which exhibit remarkable parallels to his prose. The photographs, mainly taken between 1945 and 1955, do not tell stories: they present. The images of people and their land, women in their traditional dress, musicians with their instruments, capture the calm, quiet, inner rhythms of Mexico's rural population. Rulfo extracts unique moments through his photographs; his images of desolate, abandoned buildings, their walls destroyed by artillery shells, are expressions of his nation's painful history. His quietly dramatic landscapes recall the work of Ansel Adams and Edward Weston while displaying a style that is truly his own.

This collection of 175 images is the only comprehensive collection of Juan Rulfo's photographs available. The six essays preceding the images illuminate the photographs and pay tribute to one of Mexico's most enduring literary and visual artists.

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These churches have never before been photographed so thoroughly, with such meticulous attention to their exuberant detail and splendor, providing a glimpse of the setting in which people lived, worked and worshipped in colonial Mexico. 86 color plates.

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The history of photography in Mexico was a largely story until the 1994 publication of Olivier Debroise's "Fuga Mexicana", un recorrido por la fotografia en Mexico. Based on ten years' research in public and private photographic archives in Mexico, the United States, Guatemala, and Europe, "Fuga Mexicana" provided the first comprehensive survey of Mexican photography from the advent of the daguerreotype in 1839 to the present. Now this benchmark publication is available in English as "Mexican Suite". The author and Stella de Sa Rego have revised this edition to include more current material and explanatory notes for an audience less familiar with Mexican history. They have also eliminated some of the general history of photography and added more of the early history of photography in Mexico, as well as many new, previously unpublished images. The book is organised both chronologically and thematically, which allows viewer/readers to follow the evolution of major photographic genres and styles. The author also examines the role of photography in the development of modern Mexico and the influence of prominent foreign photographers such as Edward Weston, Tina Modotti, and Henri Cartier-Bresson. In this totality, this book constitutes an extended essay on Mexican culture as a whole and on how this culture has been read, interpreted, and imagined.

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A study, in photographs, of the popular fiestas of Mexico, showing the inhabitants of several Mexican villages. The fiestas intertwine some of the great pagan festivals with Catholic ritual and tradition. These photographs show family scenes, revellers and religious ceremonies.

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Photographer Nacho López was Mexico's Eugene Smith, fusing social commitment with searing imagery to dramatize the plight of the helpless, the poor, and the marginalized in the pages of glossy illustrated magazines. Even today, López's photographs forcefully belie the picturesque exoticism that is invariably presented as the essence of Mexico. In Nacho López, Mexican Photographer, John Mraz offers the first full-length study in English of this influential photojournalist and provides a close visual analysis of more than fifty of López's most important photographs. Mraz first sets López's work in the historical and cultural context of the authoritarian presidentialism that characterized Mexican politics in the 1950s, the cult of wealth and celebrity promoted by Mexico's professional photographers, and the government's attempts to modernize and industrialize Mexico at almost any cost. Mraz skillfully explores the implications of López's imagery in this setting: the extent to which his photographs might constitute further victimization of his downtrodden subjects, the relationship between them and the middle-class readers of the magazines for which López worked, and the success with which his photographs challenged Mexico's economic and political structures.

Mraz contrasts the photos López took with those that were selected by his editors for publication. He also compares López's images with his theories about documentary photography, and considers López's photographs alongside the work of Robert Capa, Dorothea Lange, Henri Cartier-Bresson, and Sebastião Salgado. López's imagery is further analyzed in relation to the Mexican Golden Age cinema inspired by Sergei Eisenstein, the pioneering digital imagery of Pedro Meyer, and the work of Manuel Álvarez Bravo, who Mraz provocatively argues was the first Mexican photographer to take an anti-picturesque stance. The definitive English-language assessment of Nacho López's career, this volume also explores such broader topics as the nature of the photographic essay and the role of the media in effecting social change.

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"This is my country." Mariana Yampolsky knew it the moment she opened her window and saw a bougainvillea blooming against a white wall on her first morning in Mexico City in 1944. Her empathy for the Mexican people and their land has guided her work for more than fifty years, finding expression in books of dramatic black-and-white photographs ranging from her early La casa en la tierra and La casa que canta to The Traditional Architecture of Mexico. The Edge of Time presents a retrospective of Yampolsky's photographic work since 1960. Reflecting her lifelong concerns, the images capture rural Mexico and its people with respect and infinite care. They function as works of art and as documents of a moment in Mexico's history when lifeways that have endured for centuries face the onslaught of modernization. Elena Poniatowska has been Yampolsky's friend for many years and, in the foreword, she describes Yampolsky's method of working and includes many quotes from the photographer herself. Sandra Berler provides an overview of Yampolsky's life and the range of her work. Francisco Reyes Palma concludes the text with an exploration of Yampolsky's photographic aesthetic.

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72 black and white photographs depicting the Yucatan Peninsula as not normally seen by tourists. The people, the wildlife, the history.

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