Kati Horna

Surreal Friends brings together for the first time the work of three women Surrealist artists, brought together in exile in Mexico in the 1940s: British painter Leonora Carrington, Spanish painter Remedios Varo and Hungarian photographer Kati Horna. For all three women, Mexico offered freedom to explore their art in ways that had not been possible in Europe. Surreal Friends tells the fascinating story of their artistic friendship.

Told and Untold, published in association with the first US solo exhibition dedicated to Kati Horna (1912-2000), features photographs--some never before seen--displayed alongside the newspapers and magazines in which they circulated. Though she is now perhaps best known as a Surrealist, Horna often defined herself as collaborator with the press, a definition that encompassed not only her activities as a field photographer during the Spanish Civil War, but also her work as a layout artist and photomonteur for anarchist publications. From her early years in interwar Paris through her late work produced in Mexico, this publication offers a comprehensive overview of Horna's diverse practice, including her photographs, contact sheets, montaged cuttings and personal albums.

The photographers discussed in this book probe the most contentious aspects of social organization in Mexico, questioning what it means to belong, to be Mexican, to experience modernity, and to create art as a culturally, politically, or racially marginalized person. By choosing human subjects, spaces, and aesthetics excluded from the Lettered City, each of the photographers discussed in this volume produces a corpus of art that contests dominant narratives of social and cultural modernization in Mexico. Taken together, their work represents diverging and diverse notions of what is meant by Mexican modernity. The book will be of interest to scholars working in art history, history of photography, women’s studies, and Mexican studies.

This feminist retelling of the history of photography puts women in the picture—and, more importantly, behind the camera! In ten thematic, chronological sections, Tate Modern curator Emma Lewis explores the vital role women artists have played in shaping the ever-evolving medium of photography. Lewis has compiled work from more than 200 different women and nonbinary photographers along with short essays on 75 different artists, many informed by her interviews with the subjects. From the studio portraiture of the late nineteenth century to the photojournalism of Dorothea Lange and Lee Miller in the early twentieth—and from second-wave feminist critiques of gender roles to contemporary selfies and social media personae—this volume examines different genres, styles, and approaches to photography from the 1800s to the present. UNPARALLELED IN SCOPE: International, inclusive, and intersectional, this comprehensive volume tells the story of a versatile and innovative medium. From early-twentieth-century self-portraits responding to modernity and changing notions of womanhood, to photojournalistic images documenting the climate crisis, the photographs in this book demonstrate the varied ways that women respond to and shape the global cultural landscape. The artists profiled here include: • Sheila Pree Bright • Imogen Cunningham • Paz Errázuriz • Nan Goldin • Kati Horna • Mari Katayama • Dora Maar • Lee Miller • Tina Modotti • Zanele Muholi • Shirin Neshat • Cindy Sherman • Lieko Shiga • Lorna Simpson • Amalia Ulman • And more! INSIGHTFULLY ORGANIZED: The thematic chapters of this project showcase photography's changing role in society and art. They allow the author to explore and contextualize how this role has (or hasn't) made space for women and people of marginalized genders, and how the work done on the margins of the medium pushes the boundaries of technology and creative expression. This is not simply a collection of "women photographers"—it's a book about how and why women and nonbinary artists have used photography to respond to and shape their own realities. Perfect for: • Photographers, artists, and students, and art lovers • Anyone interested in the history of photography • Intersectional feminists • Trailblazing women—and the people who love and support them!

"These timely reconsiderations of European Travel writing from the 1930s reassert the oppositional primacy of subjective translations and disavow hermetic notions that travel should or even can be divorced from socio-political or cultural contexts." - Journeys "Cultural Encounters offers a rich, varied and yet impressively coherent collection of essays on the meanings and practices of travel writing in 1930s Europe. Carefully building on theoretical interest in travel writing of recent years, the essays follow written journeys to Graham Greene's Liberia and Lorca's Cuba, to Fascist Italy's Greece and France's Indochina, and many more. Throughout, texts and authors are shown to be alive with hybrid constructions of self and of ideological, national and colonial identity. What is more, the book provides compelling reasons for seeing 1930s travel writing as being of particular fascination, lying on a cusp between the Depression, totalitarianism, colonialism and modernism, and the seeds of mass tourism, post-colonialism and globalization." - Re-reading German literature since 1945, Robert Gordon, Cambridge University The 1930s were one of the most important decades in defining the history of the twentieth century. It saw the rise of right-wing nationalism, the challenge to established democracies and the full force of imperialist aggression. Cultural Encounters makes an important contribution to our understanding of the ideological and cultural forces which were active in defining notions of national identity in the 1930s. By examining the work of writers and journalists from a range of European countries who used the medium of travel writing to articulate perceptions of their own and other cultures, the book gives a comprehensive account of the complex intellectual climate of the 1930s.