In this video, we will delve deeper into her practice, analysing several of her photographs. Through this exploration, we will uncover how she distanced herself from her mentor and former husband, beginning to narrate a chronicle of Mexico in the early 20th century that deviated from the mainstream perspective.
Why was it so ground-breaking that a woman in the 1920s would carry a camera to document her surroundings? Who did Lola have to fight against?
What were the complexities of being a photographer in her time? What were the issues surrounding copyrights, selecting their subject matter and ownership of their negatives?
How did she structure the image called “El Baño”?
Why do you think she avoided the pool as a focal point, opposing what her friend, the artist Julio Castellanos, had done?
How did she mirror the research by artists like Aleksandr Rodchenko in her pictures?
How did she structure “Unos suben y otros Bajan”, and how does that observe the city’s geometry and dynamism?
How did she structure the “Las Lavanderas” image, which differed from what the muralists were doing at the time?
How was that posture aligned with what the group The Contemporaries and artists like Izquierdo were proposing?
What were the resemblances between the work of Lola and Maria Izquierdo?
What did her selection of subject matter say to us about Mexico of her time?
What was her argument surrounding her desire to depict “misery”?
What did her pictures about Catholicism tell us about the differences between the government’s official message and the reality in the streets?
What is the problem with the belief in the existence of a pure indigenous individual in Mexico? In other words, what is the issue with reclaiming and imposing that purity as an official government narrative?
What is the paradox represented by the character of Mother Matiana?