"Quando Frida morreu, em 1954, todos os seus objetos ficaram trancados em um dos comodos da mitica Casa Azul, onde ela morou muitos anos com o pintor Diego Rivera. Cinquenta anos mais tarde, esse tesouro foi aberto, mas somente agora as mais de 400 fotos guardadas sao finalmente reunidas numa publicacao. As imagens mostram uma serie de autorretratos de seu pai fotografo, Frida quando menina, seu estudio, o encontro com Rivera, seu circul ..."
"CUANDO FRIDA KAHLO MUERE DIEGO RIVERA, MARIDO, EX MARIDO Y VIUDO DE FRIDA, LE PIDE AL POETA CARLOS PELLICER QUE CONVIERTA LA CASA AZUL EN UN MUSEO PARA QUE EL PUEBLO DE MÉXICO PUEDA VISITARLA Y ADMIRAR LA OBRA DE LA ARTISTA. PELLICER SELECCIONÓ LOS CUADROS DE FRIDA QUE ESTABAN EN LA CASA, ASÍ COMO ALGUNOS DIBUJOS, FOTOS, LIBROS Y CERÁMICAS CONSERVANDO LOS ESPACIOS TAL CUAL LOS HABÍA ADAPTADO EL MATRIMONIO PARA VIVIR Y TRABAJAR. EL RESTO ..."
"The outcome was the book "Spanish-Colonial architecture in Mexico" published in 1901 showing the "folkloric and picturesque" side Mexico while highlighting the abandonment and ruins of its architectural patrimony."
"When Frida Kahlo died, her husband Diego Rivera asked the poet Carlos Pellicerto turn the Blue House into a museum that the people of Mexico could visit to admire the work of the artist. Pellicer selected those of Frida's paintings which were in the house, along with drawings, photographs, books, and ceramics, maintaining the spaces just as Frida and Diego had arranged them to live and work in. The rest of the objects, clothing, documen ..."
"Photographers Guillermo Kahlo and Henry Greenwood Peabody are best known for the remarkable images of Mexican colonial architecture that they made during the early years of the twentieth century. Kahlo, the father of the woman who would become Mexico's best known painter, emigrated from Germany in 1891 and established himself as a successful studio photographer before being commissioned by the government of Porfirio Diaz to compile a de ..."
"Mexico's White Mountain was once home to the indigenous pre-Columbian Zapotec civilization. Photographer Pablo Ortíz Monasterio engages this foundational mythology by documenting its physical manifestations in contemporary life, as depicted on decorative murals, key chains, ashtrays and pony glasses."
"Dialogue allows us to discover what makes us similar, but also what set us apart. It is the supreme challenge of our capacity to accept, where tension and contradictions, agreements and differences are resolved in a double gaze, in a common quest,A" begins writer Sandra Lorenzano in her introduction to Photographic Correspondences, which presents a volley of images e-mailed between Buenos Aires-based Marcelo Brodsky and Mexico city-base ..."
"Es el reto supremo de nuestra capacidad de aceptar, donde la tensión y las contradicciones, los acuerdos y las diferencias, se resuelven en una doble mirada, en una búsqueda común”, comienza diciendo la escritora Sandra Lorenzano en su ..."
"Affirming dialogue among artists, "Visual Correspondences" sets up a dialogue between Marcelo Brodsky and five well-known photographers: Manel Esclusa, Cassio Vasconcellos, Pablo OrtizMonasterio, Martin Parr and Horst Hoheisel."