There is a peculiar, almost visceral, satisfaction that comes from sitting down with a truly monumental photobook. Not just a collection of images, but a meticulously curated journey through an artist’s vision, a career spanning decade that allows you to see, in real time, the subtle shifts and profound progressions in their craft. This is precisely the soul settling experience awaiting you within the pages of the Graciela Iturbide Second Edition, co-published by Editorial RM and Fundación Mapfre. When you encounter a talent as singular and celebrated as Graciela Iturbide, the expectation is naturally high, but this comprehensive volume, with its two hundred compelling photographs, transcends those expectations, becoming a visual feast that nurtures a deeper understanding of both the art of photography and the human spirit it so unflinchingly observes.

For me, holding this substantial tome, with its promise of a cross-sectional journey from her earliest projects right up to her most recent creations, felt akin to unwrapping a vast, beautifully intricate map. Knowing that it presents one of the most comprehensive explorations of her career, alongside her iconic images and many lesser-known works, immediately sparks that inherent curiosity that drives much of my own exploration. It is a genuine privilege to trace the evolution of a master’s eye, to see how her first photographic inquiries blossomed into the powerful, poetic imagery that has earned her the prestigious Hasselblad Award and, more recently, the renowned Princess of Asturias Award. Her unique blend of documentary style infused with cultural and social references, all rooted firmly in her native Mexico, creates a powerful sense of place and presence throughout the whole collection.

One of the truly mesmerising aspects of this book is its ability to take you beyond mere observation, pulling you into the very heart of the subjects and the questions they raise. There is a particular black and white photograph that instantly captivated me, featuring a woman seated at a table with a strangely painted backdrop behind her. She sits slightly off centre, her gaze directed to her right, away from us, her dark, styled hair and striking eye makeup giving her a dramatic, almost theatrical air. Her expression feels pensive, even melancholic, her mouth slightly ajar, as if on the verge of a whisper or a sigh. The delicate chandelier earrings catch the light, drawing your eye to her resting hands, one near a small, clear glass. What truly makes this image so compelling, so unsettlingly beautiful, is that painted backdrop. On the left, three distinct beds, each with a stylised figure lying within, at once suggest a hospital or institutional setting. The rest of the background dissolves into a swirling, dark pattern that could be interpreted as shadows, curtains, or a dreamlike abstraction. As a fellow image maker, I find myself drawn to the incredible tension here, the vulnerability of the woman set against such a dramatic, almost narrative, backdrop. It is a photograph that asks profound questions about inner turmoil, memory, and the spaces, both real and imagined, that hold our suffering. It is a testament to Iturbide’s genius that she can evoke such a visceral narrative from a constructed, staged scene, making it feel utterly raw and authentic. It speaks directly to her belief that “Photography is a pretext for knowing,” not merely intellectually, but with one’s whole being, for “knowing, in its fully rounded sense, is a synonym for living, for being in the world, for existing.”

Another image that truly arrested my attention captures a dense herd of goats, so tightly packed they almost overflow the frame. Their light coats create a shimmering mass against a rough, textured wall or cliff face in the background. There is an almost palpable sense of movement, even the ghost of dust hanging in the air towards the top left of the frame. This photograph, for me, speaks volumes about the collective, the overwhelming force of life in its multitude. It is an unvarnished, almost primal scene that forces you to confront the sheer volume of existence, the relentless pulse of life itself. It reminded me of those moments in my own photographic work where the sheer abundance of a subject becomes its own compelling narrative, a testament to the power of pure observation.

The collection then offers a fascinating shift in perspective with a black and white photograph taken through a framed wooden structure, a beehive. The foreground is utterly dominated by a honeycomb teeming with countless bees. Yet, behind this buzzing, intricate world, partially obscured by a mesh or screen, the blurred face of a person appears, clearly looking into the hive. The person’s hair also has bees upon it or around it, suggesting an incredibly proximity to the swarm. This image is a masterclass in layered observation, in showing the unseen connection between observer and seen. It evokes a primal fear and a profound fascination simultaneously. The intimacy with which the human face approaches the wildness of the hive speaks volumes about our enduring desire to understand, to penetrate, even briefly, the mysteries of the natural world. It is the photographer’s direct engagement with her subjects, her absolute surrender to surprise and wonder, that allows her to capture such extraordinary moments, moments that move beyond mere documentation into the realm of shared experience.

And then there is the striking portrait of a woman, framed from the chest up, her head slightly tilted, clenching a knife horizontally between her teeth. Her eyes are closed, her brow furrowed with intense strain or effort. Her dark, dishevelled hair adds to the raw intensity of the scene, and her hands and forearms, visible at the bottom of the frame, appear dirty or stained. This photograph is a visceral gut punch, an unflinching look at strength, pain, and a silent, internal battle. It is an image that demands a moment of pause, forcing you to confront the immense power and quiet suffering that can live within a single human being. It embodies Iturbide’s profound ability to capture not just a person, but an entire universe of emotion within a single frame, making the viewer a participant in that intense moment.

The book continues to unfold with unexpected beauty and stark contrasts, as seen in the black and white photograph of a silhouetted bird held aloft by a human hand against a bright, stark background. The wading bird, its long beak distinct, is a dark outline against the intense light. To its left, an X-ray image of a bird’s skeleton, highlighted against a similar bright backdrop but darker than the living bird, creates a compelling juxtaposition. This image, for me, delves into the philosophical essence of life and death, the visible and the invisible, the living and the scientific deconstruction of being. It is a powerful meditation on mortality, existence, and our human impulse to categorise and understand what is inherently mysterious.

Finally, the aerial view photograph of vast numbers of small, whole fish laid out on a surface, for drying, is another visual marvel. The fish are uniformly oriented, creating a repetitive, almost meditative pattern across most of the frame. In the upper right corner, a human hand reaches down towards the fish, adjusting them or picking them up. This photograph speaks to the rhythms of life, sustenance, and the sheer scale of human interaction with the natural world. The repetitive pattern is visually hypnotic, and the lone hand reminds you of the individual within the vastness, the personal connection to the collective endeavour. It is a testament to the cycles of existence, an appreciation for the simple, vital acts of daily life.

Graciela Iturbide’s work holds a special significance for Fundación Mapfre, who have compiled what is now the most important collection of her work. This collaboration with Editorial RM, particularly considering her significant US exhibitions, has given us a truly comprehensive and profoundly moving visual celebration of her art. The essays by Marta Dahó and Juan Villoro, and the chronology by Carlos Martín, add rich layers of context and insight, opening doors into the dreams, rituals, religions, journeys, and communities that intertwine throughout her images.

This book is more than a collection of photographs, it is an invitation to engage, to feel, and to truly know. It embodies Iturbide’s belief that photography is “a way of being actively attentive to the world.” For any fellow artist, photographer, or simply anyone moved by the human condition, this volume is an essential journey, reminding us that through the lens, we do not just document, we take part in a continuous, unfolding story of existence.

Regards

Alex