MARA SANCHEZ RENERO

El Cimarrón y su fandango: Palmera. Ed. 7. Certified, signed on back.

2014

“A photographic series that introduces us to the Afro-descendant that has lived in Mexican territory since the time of the conquest. The project speaks allegorically about the past o...

Documentary Photograph. Contemporary Inkjet on cotton. Limited edition of 5. Signed front and verso. Framed in lacquered black frame with spacer) The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.” The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines...

Documentary Photograph. Contemporary Inkjet on cotton. Limited edition of 5. Signed front and verso. Framed in lacquered black frame with spacer) The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.” The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines...

The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.” The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines...

Documentary Photograph. Contemporary Inkjet on cotton. Limited edition of 5. Signed front and verso. Framed in lacquered black frame with spacer) The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.” The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines...

Fernando Bayona, Once Upon a Time: "Piel de Asno". Fine Art Inkjet Print Sizes: S: 25.6 x 20.8 in. / Ed. 3 M: 41.7 x 33 in. / Ed. 3 L: 53.1 x 41.7 in. / Ed. 2 + 1A.P "The narrat...

Redwoods by Erik Pawassar 42 x 117 inches (107 x 298cm) signed edition of 7 48 x 135 inches (122 x 343cm) six panels of 48 x 22.5 inches signed edition of 7 31 x 88 inches (79 x 224cm) signed edition of 7 archival fine art pigment print signed & numbered by artist on label custom/larger sizes are available on request _________________________ Erik Pawassar's work focuses on the beauty of the disregarded or mundane object. The subjects for his striking and captivating visuals are typically set in the most ordinary environments, drawing the viewer into a charged but serene experience based on composition, palette and formal lines. Saturated in color, the nominal subjects gather a haunting and mesmerizing quality, creating a poignant pretext for the making of a formal color photograph. Decisively capturing the traces left by humanity, Pawassar's images are filled with a sense of universal nostalgia and pay homage to the passage of time and the extinguished moment, referencing documentary and street photographers like Henri Cartier-Bresson, Sebastian Salgado...

Citroen - Signed limited edition archival pigment print, Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-free a...

Corvette in the desert - Signed limited edition archival pigment print - Edition of 5 Arizona 1998 This image was captured on film. The negative was scanned creating a digit...

'Youth and the Wise' ('Mono No Aware' Series) 24 x 36" edition Limited edition archival photograph, hand signed and numbered. Unframed _________________ Woven together into richly te...

Mayenne - Signed limited edition archival pigment print, 1992 - Edition of 5 This image was captured on film. The negative was scanned creating a digital file which was then p...

Corvette in the desert - Signed limited edition archival pigment print - Edition of 5 Arizona 1998 This image was captured on film. The negative was scanned creating a digital file which was then printed on Hahnemühle Photo Rag® Baryta 315 gsm (Acid-free and lignin-free paper, Museum quality paper for highest age resistance and a popular alternative to analogue baryta paper) using pigment inks which are known for their longevity. Signed + numbered by artist with certificate of authenticity Please note. There are three sizes of this print; each is an edition of five (5) making the total that can be printed as fifteen (15). This will include any custom sizes requested. Available sizes ( Image size , the white margin is not counted) : 35 x 52 cm / 13,78 x 20,74 in. - Edition of 5 50 x 75 cm / 19,68 x 29,53 in. - Edition of 5 67.5 x 101.6 cm / 26,37 x 40 in. - Edition of 5 Geoff Halpin...