The birds are birds as we know them and are birds that cannot be known: they are common and uncommon, whirling and blurred: the birds are dead: the birds are gawking and gawky, tender and woebegone; the birds are dirty and transient and religious and encaged within effigies of themselves; the birds are man-made or they swarm or are migratorily indifferent. The birds hover and soar and loan themselves out for metaphorical exploitation. Very soon, they will fly off the page.

Pajaros

Arts & Photography

ITURBIDE, Graciela

Photography & Video

Twin Palms Pub

Naturata (Spanish Edition)

Literature & Fiction

Ediciones Era S.A. De C.V.

Graciela Iturbide (Spanish Edition)

<p>In 2005, the bathroom of Casa Azul, Frida Kahlo's private home, was reopened for the first time since her death 51 years ago. On this occasion Graciela Iturbide embarked on a voyage of discovery of the Mexican artist's private life, documenting the fundamental "witnesses" of her human and artistic career during this week-long "journey": medical supplies, artificial limbs, corsets, hospital gowns and stuffed animals, a portrait of Stalin and her hot-water bottle. Often paint-soiled, these objects testify to Frida's inability to separate her private and artistic lives and to extricate her physical pain from her creative solace. The fusion of these elements is symbolised by her bathroom, a central place in her life, where she started each day and to which she often returned, using it as the setting for several of her works (including her famous self-portrait in the bath). The first part of Graciela Iturbide's project - a colour version with a more documentary slant - has been displayed at the National Gallery of Art in Washington DC. The photographs published in this book are the result of a second "dialogue" between the two Mexican women, which took place in 2006. In this encounter, the photographer sought to establish intimate contact with the artist, coming face to face with her legend and her identity, which she has documented in 12 black-and-white photographs, ending with a self-portrait in a pose adopted by Frida in one of her famous works.</p>

Graciela Iturbide, El Bano de Frida Kahlo

Bellatín, Mario

Humor & Entertainment

<p>Sobre esta gran fot grafa, Ver nica Volkow escribi : "En la obra de Graciela Iturbide est presente el sue o: el sue o como extrav o o como voluntad, casi siempre como necesidad, necesidad de ser otros. la c mara de Graciela m s que mirar pareciera so ar: so ar que los pies de dos mujeres sobre un rbol se vuelven de madera como los de las santas; so ar con la cabeza mitol gica de una juchiteca coronada de iguanas; so ar una bicicleta h brida de toro..."</p>

Sueños de papel (Colección Río de luz) (Spanish Edition)

FONDO DE CULTURA ECONOMICA*

Graciela Iturbide: Museo del Palacio de Bellas Artes, Septiembre - octubre de 1993, Ciudad de México (Spanish Edition)

Fotoseptiembre

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