In this video, you will discover the circumstances that propelled Lola Alvarez Bravo into her role as the first female photojournalist in Mexico. We will delve into specific aspects of her political context to comprehend why she began to distance herself from the conception of national identity crafted by the government and the muralist movement after the revolution.
What are the complexities of understanding photography’s objective or subjective nature?
Do you think an artist can be objective? Could the same answer be given to photographers and painters, particularly photojournalists?
How did the conflict during the revolution change after the Ten Tragic Days (la Decena Tragica)?
What do you think are the implications of artistic participation in politics, particularly the role of Dr Atl (the Director of the Academy of Fine Arts) during the revolution and his political direction of future muralists like Siqueiros and Orozco?
What was the task faced by the Constitutionalists after the revolution, and how did that lead to the creation of the muralist movement?
What was the gesture created by the muralists with their manifesto? What did they effectively do when they united the farmers, workers and indigenous cause?
When did the Alvarez Bravo couple start developing their photographic practice?
Who were Manuel’s mentors, and why did he distance himself from their teachings?
What was Edward Weston’s influence on Manuel?
Why do you think Manuel’s change of perspective made him the father of modern photography in Mexico?
What were the circumstances that led to Lola’s artistic independence?
What was the role of Tina Modotti? Why was Modotti’s role in documenting muralists’ paintings important for Lola’s career?
What were the effects of Lola’s friendship with the group of the Contemporaries and artists like Tamayo and Izquierdo?
How did Lola begin her career as a professional photographer?