Mexico 1953 - 1961

Editor: This is “Mexico” by Milton Rogovin, taken between 1953 and 1961, a gelatin-silver print. The black and white really emphasizes the subjects’ faces and heavy garments. What do you see in this piece beyond a simple portrait? Curator: It's crucial to remember the socio-political climate in which Rogovin was working. Post-World War II, the US saw increasing interest in documenting the "other," often through photography. This interest wasn't always benevolent; it could exoticize or even dehumanize subjects. Rogovin, however, attempts to subvert that through a powerful humanistic approach. Consider the title "Mexico". Rogovin chooses not to represent a specific location or people, but rather provides his American audience a view on this specific cultural population, reflecting both the US's broad understanding and misunderstanding of it. Editor: So, it’s more than just faces? Curator: Absolutely. Think about the distribution and circulation of such images. Where were these photos likely displayed? Galleries? Books? How might that context influence how viewers interpret the subjects and the locations, shaping a particular narrative about poverty or culture. Rogovin may have had good intentions, but how do socio-economic structures inevitably affect such depictions? Editor: That makes me wonder about his own biases then as an artist. Was he trying to represent something, or was he perpetuating certain assumptions of his audiences? Curator: That’s the right question to ask. Analyzing Rogovin’s images challenges us to interrogate the role of the artist and the public in shaping these collective images of groups. Editor: It’s given me a lot to consider about how easily images become tools for conveying very particular meanings about social and historical forces. Thanks!