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In this issue of the magazine Helios—the official publication of the Asociación de Fotógrafos de México—an editorial expresses disagreement with the results of the photographic competition sponsored by the cement company La Tolteca. This competition/exhibition awarded prizes to avant-garde works: those that were novel in their use of framing, composition, light and other elements. The editor accused Diego Rivera (the event’s judge) of obvious partiality to “foreign exoticisms” and for awarding prizes to his close friends Manuel and Lola Álvarez Bravo as well as Agustín Jiménez. 


This article keenly demonstrates the confrontation that occurred between traditional photography and the avant-garde proposals of the time; these were aggravated by their lack of presence on the art scene. In this article, like others published in the magazine Helios, it is possible to perceive the influence of its editor-in-chief Antonio Garduño, who reacted defensively against the photographers who dared to bring modernity to photography, specifically those who tried to spark a debate on such photographic properties as: clarity, high contrast, image fragmentation, and other variables of form undertaken within the period in consideration.

Rebeca Monroy
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Instituto de Investigaciones Bibliográficas : Biblioteca Nacional/Hemeroteca Nacional