Art Museum Gil Carrillo provides a new look at Lola Alvarez Bravo as a tenacious photographer whose vast body of work spanned journalism, portraiture, propaganda, and artistic experimentation.
The other Lola: Documentation, persuasion and photographic experimentation, 1930-1955 is the sample that, under the curatorship of the researcher Deborah Dorotinsky, is presented at the San Ángel campus, with at least 70 images of the artist that he published, without credit, in institutional magazines such as The Country Master, from the Ministry of Public Education (SEP); Mexico Today, information body of the Ministry of Foreign Affairs (SRE), or Annual reports, of the Ministry of Communications and Public Works, from 1954 to 1955.
At that time it was customary to publish photographs without the corresponding credit, so recognizing Lola Álvarez Bravo as the author of these images represented a titanic task that took Dorotinsky a decade, a student of the history of photography, especially the modern period. of the XNUMXth century.
The work included an investigation in the Center for Creative Photography (CCP), of the University of Arizona, which protects the archive of the Jalisco creator who was also the wife of the photographer Manuel Alvarez Bravo, from whom he kept his last name after divorcing in 1934.
Dorotinsky explained, in an interview with Grupo Reforma, that the vast majority of the photographs by Lola Álvarez Bravo that do not have authorship were identified with negative in the CCP acquis.
The importance of this exhibition, which will be open to the public until September 11, lies in the fact that it is a part of the visual production of the renowned artist that was unknown.
All the images that can be observed in Carrillo Gil are those that allowed him to pay his bills month by month in order to continue creating and capturing all those that truly caught his attention.