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Q: What was the first New York gallery that represented your work and how did they find you?

Exhibition Review

A: My first (and still the best) New York gallery was Brewster Gallery on West 57th Street in what, in 1996, was the most important gallery district in Manhattan. By joining Brewster, my work was exhibited alongside an impressive list of Latin American painters and sculptors such as Leonora Carrington, Frida Kahlo, Francisco Zuniga, Rufino Tamayo, Diego Rivera, Francisco Toledo, and more. Brewster was a prestigious and elegant gallery, well-known throughout the Latin American art world for their superb exhibitions and their contributions to art history scholarship.

Since I am not Latina, my work was selected by virtue of its Mexican subject matter and level of craftsmanship. Mia Kim, the owner/director, told me that amidst so many deserving, unrepresented, and talented artists of Latin American heritage, she was sometimes challenged to defend her decision to represent me. Mia’s response was always, “Barbara may not be of Latin American ancestry, but she most assuredly has the soul of a Latina! Her work has obvious affinities to Leonora’s, the other non-Latina that we represent.”

In July of 1996, while I was still living in Virginia, I mailed a slide sheet and reviews to Brewster, thinking that during the slow summer months, perhaps someone might actually LOOK at my material. Then I forgot all about it as Bryan and I headed off on a trip to Mexico. While we were in Mexico City, something told me to check our phone messages at the house in Alexandria. I did so and was floored to hear Mia offer me representation and a two-person show in October. The first time she would even see my work in person would be when I delivered it to the gallery!

In October my “Domestic Threats” pastel paintings were paired with work by Cuban artist, Tomas Esson, for an exhibition called “Monkey Business.” The opening was extremely well-attended by a sophisticated international New York crowd. A highlight was meeting Leonora Carrington, one of my artist heroes of long standing. Afterwards a large group of us were wined and dined at a French restaurant around the corner on West 58th Street. I remember looking at Bryan and saying, “I think I’ve made it!” The next day there was a favorable review in a publication called, “Open Air.” After working in complete obscurity for thirteen years, I was finally on my way.

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Pearls from artists* # 438

Chalcatzingo, Mexico

Chalcatzingo, Mexico

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Although {Manuel} Alvarez Bravo and Cartier-Bresson were both important mentors for Iturbide, her photographs, as she confirms, are not connected to Surrealism in any way.  Henri Cartier-Bresson’s publication Carnets du Mexique (Mexican Notebooks) was an important influence, as it presented a visual representation of Mexico that resonated with her.  (Cartier-Bresson also worked mainly in Juchitan, where Iturbide has spent a great deal of time).  However, Iturbide developed a way of working quite different from Cartier-Bresson’s.  What distinguishes the two artists’ photographs lies in the notion of the fleeting instant, or, as Cartier-Bresson called it, “the decisive moment.”  Iturbide refers to Cartier-Bresson’s interest in the “sharp eye” and capturing an instant in time, and describes her own intentions when photographing:  “More than in time, I’m interested in the artistic form of the symbol.”  Further, Iturbide’s photographs are taken with an understanding of the people, rituals, and symbols of the communities she captures, which makes them stand apart from Cartier-Bresson’s fleeting moments of Mexico.  Her work is informed by her deep connection and empathy for her subjects.

Kristen Gresh in Graciela Iturbide’s Mexico         

Comments are welcome!

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