Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Marcelino Sierra
Contemporary Inkjet on cotton
Available in two formats:
58x45 cm
110x82 cm
(Included in portfolio:¨Huichol¨)
Ed. 5 + 2 P.A.
27.9 x 38 cm
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Caminata
Contemporary Inkjet on cotton
Available in 2 sizes:
58x45 cm
110x84cm
(Included in Special Edition Portfolio ¨Huichol¨)
Ed. 5 + 2 P.A.
27.9 x 38 cm
Impresión piezográfica firmada al frente
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Peyote
Contemporary Inkjet on cotton
Available in 2 sizes:
58x45 cm
110x84cm
(Included in Special Edition Portfolio ¨Huichol¨)
Ed. 5 + 2 P.A.
27.9 x 38 cm
Impresión piezográfica firmada al frente
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Desierto
1995-2021
Contemporary inkjet print.
Available in 2 sizes:
50 x 67 cm
110 x 84 cm
(Included in Special Edition Portfolio ¨Huichol¨)
Ed. 5 + 2 P.A. e/E
67 x 50 cm
“…The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like the anthropologist Lumholtz or the etnographer Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines or archives. Rather, these complex images are the result of long and patient attempts at negotiation and collaboration, of working with the Huichol, amongst them, and ultimately making pictures as much for them as for audiences far from the Sierra Madre. In 1996, Fernando Ortiz Monasterio, an ecologist and engineer, was invited to design a bridge to allow the Huichol to safely cross a deep riverbed that became an impassable and dangerous torrent during the summer rains. An image by his brother Pablo records the bloody sacred sacrifice that celebrated its completion, just as he later documented a Huichol pilgrimage to another suspension bridge, in distant Brooklyn. Perhaps the only ethical position of the contemporary photographer engaged with Indigenous subjects is to work as a bridge or conduit, as a sanctioned recorder of sacrifices, pilgrimages, and other ceremonies—some more secret than others. These remain in the hands of the Huichol, and none of us will ever truly comprehend their spiritual meanings.” James Oles, Phd. Art Historian
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Tiempo sagrado
Contemporary Inkjet on cotton
Available in 2 sizes:
58x45 cm
110x84cm
(Included in Special Edition Portfolio ¨Huichol¨)
Ed. 5 + 2 P.A.
27.9 x 38 cm
Impresión piezográfica firmada al frente
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Corazón
Contemporary Inkjet on cotton
Available in 2 sizes:
58x45 cm
110x84cm
(Included in Special Edition Portfolio ¨Huichol¨)
Ed. 5 + 2 P.A.
27.9 x 38 cm
Impresión piezográfica firmada al frente
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Bandera
1995-2021
Contemporary inkjet print.
Available in 2 sizes:
50 x 67 cm
110 x 84 cm
(Included in Special Edition Portfolio ¨Huichol¨)
Ed. 5 + 2 P.A. e/E
50 x 67 cm
“…The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like the anthropologist Lumholtz or the etnographer Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines or archives. Rather, these complex images are the result of long and patient attempts at negotiation and collaboration, of working with the Huichol, amongst them, and ultimately making pictures as much for them as for audiences far from the Sierra Madre. In 1996, Fernando Ortiz Monasterio, an ecologist and engineer, was invited to design a bridge to allow the Huichol to safely cross a deep riverbed that became an impassable and dangerous torrent during the summer rains. An image by his brother Pablo records the bloody sacred sacrifice that celebrated its completion, just as he later documented a Huichol pilgrimage to another suspension bridge, in distant Brooklyn. Perhaps the only ethical position of the contemporary photographer engaged with Indigenous subjects is to work as a bridge or conduit, as a sanctioned recorder of sacrifices, pilgrimages, and other ceremonies—some more secret than others. These remain in the hands of the Huichol, and none of us will ever truly comprehend their spiritual meanings.” James Oles, Phd. Art Historian
Approximate view with unframed print. Ask for exact available dimensions
Huichol; sierra, desierto y Nueva York: Bastón de agua
1995-2021
Contemporary inkjet print.
Available in 2 sizes:
50 x 67 cm
110 x 84 cm
(Included in Special Edition Portfolio ¨Huichol¨)
Ed. 5 + 2 P.A. e/E
50 x 67 cm
“…The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like the anthropologist Lumholtz or the etnographer Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines or archives. Rather, these complex images are the result of long and patient attempts at negotiation and collaboration, of working with the Huichol, amongst them, and ultimately making pictures as much for them as for audiences far from the Sierra Madre. In 1996, Fernando Ortiz Monasterio, an ecologist and engineer, was invited to design a bridge to allow the Huichol to safely cross a deep riverbed that became an impassable and dangerous torrent during the summer rains. An image by his brother Pablo records the bloody sacred sacrifice that celebrated its completion, just as he later documented a Huichol pilgrimage to another suspension bridge, in distant Brooklyn. Perhaps the only ethical position of the contemporary photographer engaged with Indigenous subjects is to work as a bridge or conduit, as a sanctioned recorder of sacrifices, pilgrimages, and other ceremonies—some more secret than others. These remain in the hands of the Huichol, and none of us will ever truly comprehend their spiritual meanings.” James Oles, Phd. Art Historian
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Marcelino NY
1995-2021
Contemporary Inkjet on cotton
Available in 2 sizes:
1995-2021
Contemporary inkjet print.
Available in 2 sizes:
50 x 67 cm
110 x 84 cm
(Included in Special Edition Portfolio ¨Huichol¨)
Ed. 5 + 2 P.A. e/E
50 x 67 cm
“…The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like the anthropologist Lumholtz or the etnographer Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines or archives. Rather, these complex images are the result of long and patient attempts at negotiation and collaboration, of working with the Huichol, amongst them, and ultimately making pictures as much for them as for audiences far from the Sierra Madre. In 1996, Fernando Ortiz Monasterio, an ecologist and engineer, was invited to design a bridge to allow the Huichol to safely cross a deep riverbed that became an impassable and dangerous torrent during the summer rains. An image by his brother Pablo records the bloody sacred sacrifice that celebrated its completion, just as he later documented a Huichol pilgrimage to another suspension bridge, in distant Brooklyn. Perhaps the only ethical position of the contemporary photographer engaged with Indigenous subjects is to work as a bridge or conduit, as a sanctioned recorder of sacrifices, pilgrimages, and other ceremonies—some more secret than others. These remain in the hands of the Huichol, and none of us will ever truly comprehend their spiritual meanings.” James Oles, Phd. Art Historian
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Huicholes Brooklyn
Contemporary Inkjet on cotton
Available in 2 sizes:
28.3x41cm
110x84cm
(Included in Special Edition Portfolio ¨Huichol¨)
Ed. 5 + 2 P.A.
27.9 x 38 cm
Impresión piezográfica firmada al frente
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Ofrenda
Vintage Inkjet fine-art print ('99) on cotton done by the artist. Signed front and verso
Available in two formats:
58x45 cm
110x82 cm
Ed. 5 + 2 P.A.
Impresión piezográfica firmada al frente
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Sombra
Vintage Inkjet fine-art print ('99) on cotton done by the artist. Signed front and verso
Available in two formats:
28.3x41cm
110x82 cm
Ed. 5 + 2 P.A.
Impresión piezográfica firmada al frente
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Sombreros
Vintage Inkjet fine-art print ('99) on cotton done by the artist. Signed front and verso
Available in two formats:
58x45 cm
110x82 cm
Ed. 5 + 2 P.A.
Impresión piezográfica firmada al frente
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Mano
Vintage Inkjet fine-art print ('99) on cotton done by the artist. Signed front and verso
Available in two formats:
53x43cm
110x82 cm
Ed. 5 + 2 P.A.
27.94 x 38 cm
Impresión piezográfica firmada al frente
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Serpiente
Vintage Inkjet fine-art print ('99) on cotton done by the artist. Signed front and verso
Available in two formats:
28.3x41cm
110x82 cm
Ed. 5 + 2 P.A.
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Craneo Venado
Vintage Inkjet fine-art print ('99) on cotton done by the artist. Signed front and verso
Available in two formats:
45x59 cm
110x82 cm
Ed. 5 + 2 P.A.
27.94 x 38 cm
Impresión piezográfica firmada al frente
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Hikuri
Vintage Inkjet fine-art print ('99) on cotton done by the artist. Signed front and verso
Available in two formats:
45x59 cm
110x82 cm
Ed. 5 + 2 P.A.
27.94 x 38 cm
Impresión piezográfica firmada al frente
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Comida del futuro
Vintage Silver Gelatine Photograph done by the artist (2002). Signed front and verso.
Unique + 1P.A.
92 x 85.8 cm
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz-Monasterio
“Huichol: mountain, desert, New York”, Wirikuta
Installation: Vintage C-Print on canvas (190x110cm, 1999), branch of tree, heneken rope and stone.
Variable measures
Unique + 1P.A.
Impresión piezográfica firmada al frente
Approximate view with unframed print. Ask for exact available dimensions
Pablo Ortiz Monasterio
Carpeta “Huichol: Sierra, desierto, Nueva York”
Special Edition Portfolio
10 photos and 2 slides (title handwritten by Pablo and James Oles' text) in fine-art inkjet print on cotton.
11 x 15 cm
Portfolio: Ed. 10 + 2 P.A.
“…The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like the anthropologist Lumholtz or the etnographer Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines or archives. Rather, these complex images are the result of long and patient attempts at negotiation and collaboration, of working with the Huichol, amongst them, and ultimately making pictures as much for them as for audiences far from the Sierra Madre. In 1996, Fernando Ortiz Monasterio, an ecologist and engineer, was invited to design a bridge to allow the Huichol to safely cross a deep riverbed that became an impassable and dangerous torrent during the summer rains. An image by his brother Pablo records the bloody sacred sacrifice that celebrated its completion, just as he later documented a Huichol pilgrimage to another suspension bridge, in distant Brooklyn. Perhaps the only ethical position of the contemporary photographer engaged with Indigenous subjects is to work as a bridge or conduit, as a sanctioned recorder of sacrifices, pilgrimages, and other ceremonies—some more secret than others. These remain in the hands of the Huichol, and none of us will ever truly comprehend their spiritual meanings.” James Oles, Phd. Art Historian
Approximate view with unframed print. Ask for exact available dimensions
Huichol: Mountain, Desert, New York (1995-2021)
Pablo Ortiz Monasterio, Mexico
James Oles, curator | curator
Photography | Photography
FRI. NOV 5. 2021. Inauguration | Opening
ALMANAQUE-photographic
Colima 101-pb. North Rome. Mexico City
The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.”
The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines or archives. Rather, these complex images are the result of long and patient attempts at negotiation and collaboration, of working with the Huichol, amongst them, and ultimately making pictures as much for them as for audiences far from the Sierra Madre.
In 1996, Fernando Ortiz Monasterio, an ecologist and engineer, was invited to design a bridge to allow the Huichol to safely cross a deep riverbed that became an impassable and dangerous torrent during the summer rains. An image by his brother Pablo records the bloody sacred sacrifice that celebrated its completion, just as he later documented a Huichol pilgrimage to another suspension bridge, in distant Brooklyn. Perhaps the only ethical position of the contemporary photographer engaged with Indigenous subjects is to work as a bridge or conduit, as a sanctioned recorder of sacrifices, pilgrimages, and other ceremonies—some more secret than others. These remain in the hands of the Huichol, and none of us will ever truly comprehend their spiritual meanings.
James Oles