La Magnum Photos en femenino. "Un campo minado de contradicciones".
Loading...
Full text at PDC
Publication date
2022
Authors
Advisors (or tutors)
Journal Title
Journal ISSN
Volume Title
Publisher
Dykinson
Citation
Carabias Álvaro, Mónica (2022). “La Magnum Photos en femenino. Un campo minado de contradicciones" en Lynda Avendaño Santana, María Antonia Blanco Arroyo, Mónica Carabias Álvaro, Mónica (eds.) Discursos intervinientes. Mujeres y arte actual. Madrid, Dykinson, ISBN 978-84-1377-811-2, págs. 175-193.
Abstract
Entre finales de los años cuarenta y hasta los años sesenta se produjo la llamada “Edad de oro” del reportaje fotográfico. La gran retratista Gisèle Freund, refugiada desde antes de la II Guerra Mundial en París, donde comenzaría una fructífera carrera profesional como fotógrafa, confesaba que: “En aquel tiempo todo el mundo quería ser reportero, porque era quien se codeaba con los grandes personajes e incluso vivía como las grandes estrellas” (Beaumont, 1982). En este contexto, surgía la Magnum Photos (1947), una agencia con vocación internacional que aspiraba a convertirse en la primera cooperativa mundial de fotógrafos “revolucionarios”. En la actualidad, la agencia continúa trabajando por preservar este espíritu “contando” con sus cámaras y estilos personales los nuevos “conflictos” del mundo globalizado. Sin embargo, la narración visual de los hechos que acontecen y de los que forman parte individuos de toda raza, sexo, religión o condición, la realizan en su mayoría fotógrafos y no fotógrafas. ¿Por qué no ha habido más fotógrafas en la Magnum? ¿Acaso la calidad de los trabajos realizados por las pioneras Inge Morath, Lee Miller o Eve Arnold no fueron suficientes para abandonar la categoría de leyenda en la Magnum y convertirse en genealogía y modelos para generaciones futuras?
From the late 1940s to the 1960s was the so-called “Golden Age” of reportage photography. The great portrait photographer Gisèle Freund, who had taken refuge in Paris before World War II, where she would begin a fruitful professional career as a photographer, confessed that: “At that time everyone wanted to be a reporter, because they were the ones who rubbed shoulders with the great figures and even lived like the great stars” (Beaumont, 1982). In this context, Magnum Photos (1947) arised as an agency with an international vocation that aspired to become the first world cooperative of “revolutionary” photographers. Today, the agency continues to work to preserve this spirit by “telling” with its cameras and personal styles the new “conflicts” of the globalized world. However, the visual narration of the events that take place and of which individuals of all races, sexes, religions and conditions are a part is mostly done by photographers and not by women photographers. Why have there not been more women photographers at Magnum? Was the quality of the work done by the pioneers Inge Morath, Lee Miller or Eve Arnold not enough to leave the category of legend at Magnum and become genealogy and models for future generations?
From the late 1940s to the 1960s was the so-called “Golden Age” of reportage photography. The great portrait photographer Gisèle Freund, who had taken refuge in Paris before World War II, where she would begin a fruitful professional career as a photographer, confessed that: “At that time everyone wanted to be a reporter, because they were the ones who rubbed shoulders with the great figures and even lived like the great stars” (Beaumont, 1982). In this context, Magnum Photos (1947) arised as an agency with an international vocation that aspired to become the first world cooperative of “revolutionary” photographers. Today, the agency continues to work to preserve this spirit by “telling” with its cameras and personal styles the new “conflicts” of the globalized world. However, the visual narration of the events that take place and of which individuals of all races, sexes, religions and conditions are a part is mostly done by photographers and not by women photographers. Why have there not been more women photographers at Magnum? Was the quality of the work done by the pioneers Inge Morath, Lee Miller or Eve Arnold not enough to leave the category of legend at Magnum and become genealogy and models for future generations?
Description
Esta publicación ha sido reseñada en la revista científica Archivo español de arte, ISSN 0004-0428, ISSN-e 1988-8511, Tomo 95, Nº 378, 2022, págs. 205-206.