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América Latina Portal Europeo
REDIAL Red Europea de Información y Documentación sobre América Latina
CEISAL Consejo Europeo de Investigaciones Sociales de América Latina
Revista Journal of Iberian and Latin American Studies

Journal of Latin American Cultural Studies

Revista Journal of Latin American Studies

Año: 2015 vol. 24 n. 2

Brizuela, Natalia; Uslenghi, Alejandra. Grete Stern's Work in Argentina.  / Trabajo de Grete Stern en Argentina  In  Brizuela, Natalia ; Uslenghi, Alejandra Special Issue on Modern Argentine Photography: Horacio Coppola and Grete Stern p. 91-108 Argentina
Grete Stern / Cultura visual / Arte europeo / Retrato / Paisajes
Siglo XX

Resumen

This article looks at Grete Stern's work in Argentina after her first trip to and show in Buenos Aires in 1935 through her last works with photography in the 1980's, revealing the scope of her photographic production and intervention in the Argentine art scene. It highlights both her work within portraiture as well as her understudied and largely unknown landscape photography. It also examines her studies and involvements with the rise of avant-garde and modernist photography in Europe prior to her definite move to Argentina in 1936.

Gorelik, Adrián. Images for a Mythological Foundation. Notes on Horacio Coppola's Photographs of Buenos Aires.  / Imágenes para una fundación mitológica. Notas sobre las fotografías de Buenos Aires de Horacio Coppola  In  Brizuela, Natalia ; Uslenghi, Alejandra  Special Issue on Modern Argentine Photography: Horacio Coppola and Grete Stern p. 109–121 Argentina
Horacio Coppola / Buenos aires / Jorge luis Borges / Historia urbana / Cultura urbana
Siglo XX

Resumen

This article situates Horacio Coppola’s photographs of Buenos Aires from 1929 to 1936 as part of one of the main programs of the porten˜o avant-garde: the criollista quest for identity along the edges of the metropolis, the working class and immigrant suburbs where the avant-garde experimented its double search of synthesis between modernity and tradition, and the city and the pampas. Jorge Luis Borges —with whom Coppola used to explore these distant neighborhoods and who selected two of his first photographs taken there to illustrate the first edition of his Evaristo Carriego in 1930— is a key figure in this quest for identity, and the article postulates that the photographs of Coppola have to be seen as a version and necessary complement of Borges’ “mythological foundation” of Buenos Aires.

Roberts, Jodi . A City in Dispute: Grete Stern’s Photographs of Buenos Aires, 1936–1956.  / Una ciudad en disputa: Fotografías de Grete Stern de Buenos Aires, 1936-1956  In  Brizuela, Natalia ; Uslenghi, Alejandra Special Issue on Modern Argentine Photography: Horacio Coppola and Grete Stern p. 123-152 Argentina
Buenos Aires / Grete Stern / Urbanismo / Fotografía
Siglo XX

Resumen

Grete Stern began photographing Buenos Aires in the mid-1930s, but she turned to the subject with unprecedented intensity in the late 1940s and early 1950s, a period of heated debate over the social and political significance of the city’s physical makeup. During this time, Juan Domingo Perón, President of Argentina from 1946 to 1955, implicated the city’s landmarks and neighborhoods in his populist denunciations of cultural elitism and economic disparity. Stern’s urban photographs – published in sources ranging from artist-run magazines to commercial volumes and government-sponsored brochures – were created in dialogue with transformative disputes unfolding on the national political scene and within Argentina’s art world. This essay explores the stylistic diversity of Stern’s urban imagery and investigates the relationship between her images and the country’s long tradition of using photographs to promote and define its most populous city.

Tell, Verónica. Portraits of Places: Notes on Horacio Coppola’s Photography and Short Urban Films.  / Retratos de lugares : notas sobre la fotografía y cortometrajes urbanos de Horacio Coppola  In  Brizuela, Natalia ; Uslenghi, Alejandra Special Issue on Modern Argentine Photography: Horacio Coppola and Grete Stern p. 153-171 Argentina
Fotografía moderna / Películas / Vistas urbanas / Horacio Coppola
Siglo XX

Resumen

Beginning in the late twenties and more specifically during the thirties – commissioned by the city of Buenos Aires on the occasion of the city's fourth centennial celebrations – Horacio Coppola created a way of looking at Buenos Aires that continues to be influential to this day. This article focuses on the photographic production that constituted that vision in parallel with the short film Así nació el Obelisco (this is How the Obelisk was Born) which Coppola shot on his own accord while working on the commission in 1936. With the aim of achieving a more thorough understanding of his perspective and aesthetic choices as a creator, we will analyze an early, little-known article he wrote for Clave de Sol (1931) magazine in which he discusses issues regarding photography and film, cinematographic time and documentary film. As an urban photographer and filmmaker, this study would not be complete without also examining the short films he produced featuring the Pont des Arts pier in Paris (1934) and Hampstead Heath in London (1935). In these pieces, Coppola reveals the ties that exist between places and the people who inhabit and use them, a key to modern urban life, and an insight essential to the modern point of view from which he would later construct such powerful imagery of Buenos Aires.

Uslenghi, Alejandra. A Migrant Modernism. Grete Stern's Photomontages.  / Un Modernismo migrante. Fotomontajes de Grete Stern  In  Brizuela, Natalia ; Uslenghi, Alejandra Special Issue on Modern Argentine Photography: Horacio Coppola and Grete Stern p. 173-205 Argentina
Fotografía / Grete Stern / Modernismo / Cultura visual / Fotomontaje / Revistas femeninas
Siglo XX

Resumen

The article analyses the photomontage production of German-Argentine photographer Grete Stern, exploring the continuities and reconfigurations of both formal concerns and socio-political valences between her formative years in Berlin and her work in Buenos Aires, especially with regard to the visual deconstruction of dominant perceptions of femininity and the (female) body in relation to a modernizing culture. The comparative analysis aims at disarticulating a derivative or causal relationship between her Bauhaus roots and her ground-breaking Argentine production, as well as connecting them through a focus on processes of social and aesthetic migration. The article's claim is that by introducing photographic photomontage in the popular female press in late 1940s and early 1950s, Stern's Sueños series not only helped establish a working and middle-class female audience for photographic modernism, but also trained her readers in the visual language of modern culture.

Oubiña, David . The Skin of the World: Horacio Coppola and Cinema.  / La piel del mundo: Horacio Coppola y el cine  In  Brizuela, Natalia ; Uslenghi, Alejandra Special Issue on Modern Argentine Photography: Horacio Coppola and Grete Stern p. 207-221 Argentina
Horacio Coppola / Vanguardia / Modernismo / Imagemas
Siglo XX

Resumen

During the 1930s, Horacio Coppola made two trips to Europe: December 1930–May 1931, and October 1932–August 1935. These trips were, in a precise manner of speaking, apprenticeship experiences. Apprenticeships in photography and in cinematography. Coppola had begun taking photos at the end of the 1920s but, before leaving for Europe, his understanding of photography was basically intuitive. On the other hand, at that time, he was already a consummate cinephile with a very thorough understanding of the current state of cinematography. In Europe, he directed three short films: Sueño (Traum, 1933), Un dique en el Sena (Un quai de la Seine, 1934) and Un domingo en Hampstead Heath (A Sunday in Hampstead Heath, 1935). From the first one to the last one, Coppola undergoes his own shift from the avant-garde to high modernism. Taken together, his three films reveal that, at least for a time, Coppola harbored the idea of devoting himself to cinema. In his itinerary as a photographer, cinema ended up taking a secondary position. But these films show that he investigated the specificity of the images in motion and that he searched to define a personal style and a gaze that is as revealing as it is non-transferable.

Aguiló, Ignacio. Visuality, Coloniality and Modernism in the Gran Chaco: Assessing Grete Stern's Indigenous Photographs.  / Visualidad, colonialidad y la modernidad en el Gran Chaco: Evaluación de fotografías Indígenas de Grete Stern  In  Brizuela, Natalia ; Uslenghi, Alejandra Special Issue on Modern Argentine Photography: Horacio Coppola and Grete Stern p. 223-242 Argentina
Stern / Chaco / Carrera / Bauhaus / Visualidad / Colonialidad
Siglo XX | Siglo XXI

Resumen

In recent years, Grete Stern's series of photographs of indigenous people from northern Argentina's Chaco region have been the subject of increasing attention. Most critics argue that in these images it is possible to find one of the best examples of the convergence of her humanist concerns with the fate of oppressed and persecuted people and her modernist approach to photography. Consequently, a narrative is put forward that connects Stern's earlier experiences, both as a Jew during the rise of Nazism and as an exponent of the Bauhaus style, with her representations of indigenous people. The aim of this article is to suggest a more complex study of this photographic series, mainly by shifting the focus of analysis from Stern's figure to the photographs themselves, therefore locating them in relation to previous and subsequent visual representations of Argentina's indigenous cultures. Firstly, I will examine to what extent these photographs introduced an aesthetic and ethical break with the visuality of the Gran Chaco produced by late nineteenth- and early twentieth-century anthropology, in line with the occupation of this region by the national state. Secondly, I will analyze how they contributed to a shift towards an increasing aestheticization of indigenous communities, an aestheticization that would go on to be recuperated and influence the work of contemporary photographers. This aspect will be the focus of the last section of this article, taking Guadalupe Miles's Chaco series as a case study.

Brizuela, Natalia. Grete Stern, Horacio Coppola and the Question of Modern Photography in Argentina.  / Grete Stern, Horacio Coppola y la cuestión de la fotografía moderna en Argentina  In  Brizuela, Natalia ; Uslenghi, Alejandra  Special Issue on Modern Argentine Photography: Horacio Coppola and Grete Stern p. 243-265 América Latina
Argentina
Cultura visual / Modernismo / Coppola / Stern
Siglo XX

Resumen

This article questions the meaning of the category of ‘modern photography’ in Argentina from the 1930s through the 1960s, looking specifically at how it was used to refer to Grete Stern and Horacio Coppola's work from that period. The article shows that ‘modern’ referred to different and at times contradictory aesthetic and political dimensions of the photographic medium, and not to a single type of practice. By doing this, the article offers a historiographic and theoretical intervention on the question of modern aesthetics in Argentina in particular and in Latin America in general.

Brizuela, Natalia ; Uslenghi, Alejandra. Special Issue on Modern Argentine Photography: Horacio Coppola and Grete Stern / Número especial sobre la fotografía moderna argentina: Horacio Coppola y Grete Stern Argentina

Journal of Latin American Cultural Studies
Papel | Versión digital con suscripción | Trimestral (desde 2011) | Reino Unido Journal of Latin American Cultural Studies. Travesia
ISSN versión papel: 1356-9325
ISSN versión digital: 1469-9575
Año de creación: 1992

Editor: Routledge (Taylor and Francis Group)

Publica artículos sobre la historia y la análisis de la cultura latinoamericana así como sobre el desarrollo de teorías y de métodos a fines de estudiar las costumbres latinoamericanas. Los artículos multi diciplinarios que contribuyen a dar sentido a una área de investigación y de debate están particularmente bienvenidos así como las disciplinas de cierto interés tales como la antropología, la comunicación, la historia y la literatura.

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