Instead, she came to the medium as the result of mundane sibling rivalry. She was in junior high; her older brother, John Lee Aguilar, was in high school. One day he showed up at their home in San Gabriel with a fancy new camera.
The beloved Chicana photographer Laura Aguilar, known for her portraiture of underrepresented Latinx subjects, died Wednesday at the age of 58 in a Long Beach nursing home. Aguilar, a self-taught photographer, turned her camera lens toward the invisible communities of Los Angeles: Latinx, queer, large-bodied, working-class people like herself. Her journey to become a critically acclaimed photographer began in her teenage years when she was discriminated at school for her auditory dyslexia, which made it difficult for her to read and speak.
Laura Aguilar October 26, — April 25, was an American photographer. She was born with auditory dyslexia and attributes her start in photography to her brother who showed her how to develop in dark rooms. Aguilar was the daughter of a first-generation Mexican-American father.
Before her untimely death in April this year, aged only 58, Mexican-American photographer Laura Aguilar had cemented herself not only as a pioneer of Chicana photography, but as an artist who treated her subjects with a tenderness nearly unrivalled in contemporary image-making. In this profile of the late great image-maker, filmmaker Adinah Dancyger examines the life and work of a figure who stood at the forefront of radical photography, capturing a side of America rarely before seen with such honesty. Her gaze is unfazed but not exploitative; tender but not sentimental. Taken at a time when Aguilar was grieving the loss of a close friend, the image speaks to the proximity of bodies and nature—a not unnatural decision considering she trained, and lived, amid the wild heat and deserts of Los Angeles.
While she believed in the importance of documenting the multiplicity of human life, she often felt uncomfortable showing nude self-portraits and struggled to express herself. Organized chronologically, the exhibition opens with work Aguilar shot in the early s when she was a student at East Los Angeles College: black-and-white portraits of friends and artists around East Los Angeles, scenes capturing Day of the Dead celebrations, and self-portraits. When it came to photography, she was mostly self-taught.
If your organization is interested in collaborating with us, feel free to write to us at And the first festival spawned several other screenings of our films around the world including Miami, Philadelphia, Sioux Falls and back to Boston again. We produce the Oscar-qualifying New Orleans Film Festival annually and invest year-round in building a vibrant film culture in the South to share transformative cinematic experiences with audiences, and connect dynamic filmmakers to career-advancing resources. What the Critics Are Saying: In speaking about "Stories We Tell," it is important to avoid revealing the surprises hidden within the film, surprises of fact and surprises of Polley's structure, because the discovery of said surprises is where the film packs its greatest and most indelible punch.
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This list is exclusively Latino writers and directors and the spotlight is on their brand new fiction films. Support these indie films 2. Continue to build this site as a trusted source of exciting Latino talent to watch and promote 3. I turn to the USC Annenberg Inclusion Initiative to see how dismal the number of Latino directors hired to direct the popular films they surveyed from
And most of all, photography makes me look within. On 25 April, Aguilar died at age As a pioneer of queer Chicana photography, her death comes at a great loss for both photographic and queer Chicana culture who, without Aguilar, would never have been so visually championed into wider queer and American history.