From the start of baseball’s World Series and Hurricane Sandy in the Caribbean to the hajj pilgrimage to Mecca and people dressed as pandas, TIME presents the best images of the week.
Often cited as Mexico’s most celebrated fine art photographer, Manuel lvarez Bravo, whose life almost spanned the entire 20th century, relentlessly captured the history of the country’s evolving social and geopolitical atmosphere.A Photographer on the Watch, a new show organized by the Jeu de Paume in Paris, features previously unpublished and unseen images from the master alongside lvarez Bravo’s most recognizable images, such as The Daughter of the Dancers (slide 6) and The Crouched Ones (slide 9).Together, they bring new attention and reconsideration of the work of the photographerwho died in 2002whose prolific output has not only been thoroughly scrutinized by critics, but also published in more than a hundred books and exhibited internationally (The J. Paul Getty Museum in Los Angeles staged a major retrospective in 2001).
After the Mexican Revolution that began in 1910, lvarez Bravo’s career emerged during a creative renaissance that was a reaction to the resulting paradigm shift in the political environment. Alongside the major uprisings against then-Mexican president, Porfirio Daz, brought forth by political revolutionaries, such as Emiliano Zapata and Pancho Villa, significant artists including Diego Rivera also came to prominence. backlinks . lvarez Bravo’s work, which evolved during this period, addressed what curators Laura Gonzles Flores and Gerardo Mosquera identify as the country’s “gradual abandonment of rural life and traditional customs, the rise of a post-revolutionary culture with international influences, and the espousal of a modern culture related to the urban maelstrom.”
Perhaps the most noticeable part of lvarez Bravo’s career is his breadth of approaches, coursing through modernism (like Edward Weston, his personal friend) with formalist photographs of abstract paper forms, before moving on to address recognizable motifs. People, things and objectsfor example, a sheep fallen down against a sidewalk curbare shown in real habitats, but captured in a perspective which elevate the purpose and meaning of the photograph, beyond that of pure documentation (like Eugne Atget).
Although considered to be a part of the Surrealist movement, Alvarez Bravo’s images aren’t exclusively Surrealist in its denotative meaning; his lens captured the uncanny and mythic qualities of things that tangibly existed, such as an optical store plastered with eye illustrations, as seen on Optical Parable(slide 10), that evoke the work of pure Surrealists.
lvarez Bravo’s career is one which can be easily seen as a story of tireless work full of laborious attempts and devout experimentationleading to iconic masterpieces. As Gerardo Mosquera states in an essay inside the exhibition’s catalog: “while [Henri] Cartier-Bresson seized the decisive moment, lvarez Bravo laid a trap for decisive momentsa statement which both captures not only lvarez Bravo’s dedication to his practice, but his ability to compose and very purposefully create photographs saturated with poetic complexity.
Manuel lvarez Bravo: A Photographer on the Watchis on view from Oct. 16 through Jan. 20 at Jeu de Paume in Paris. See more info here.
In a world made small and accessible by technology, it is easy to forget the magnitude of nature’s infinite complexity. But sometimes technology reminds us, such as when trawling planet Earth on Google’s Satellite View, zooming across landscapes partitioned by natural and unnatural boundaries.
While searching Google Earth, Paul Bourke, a research associate professor at the University of Western Australia, discovered an amazing sightthe patterns of the Earth seemed to form a delicate geometric pattern when viewed from the sky. Not only delicate, but almost perfect. Bourke was captivated by the geographylacy tracks of rivers and mountain ranges stretching across the Earth in unison as if digitally cloned.
Fractals are recognized as patterns of self-similarity over varying degrees of scale. seo marketing . There are both mathematical fractals as well as natural fractalsthe former are idealized and found across a range of scales, while the latter generally only exist across a smaller scale range.
Bourke explains that fractals are found in all parts of life, from the brain sciences and astrophysics to geographic formations and riverbeds. “Fractal and chaotic processes are the norm, not the exception.”
“I always knew these amazing natural patterns would be there,” he said. “They are literally everywhereit’s just a matter of finding them.”
And find them he did. Bourke, an authority on fractals and visualizations, showcases more than 40 different fractals he’s uncovered while zooming through the satellite views of 25 countries. Through his website, he encourages users to submit examples they’ve found in their own browsing, and provides KMZ coordinate files for each image, allowing users to visit the exact views of the fractal features. Bourke’s collection realizes the power enabled by the open-ended tools of modern technology and applies them to a practical and popular aesthetic end.
To see more natural fractal patterns, visit Bourke’s website.
On Aug. 20, Will Lucas, a lanky righty from Fairfield, Conn., pitched a no-hitter in the Little League World Series. link pyramid . His performance was the opening highlightthe leadon ESPNs SportsCenter the next morning. Thats a lot of pressure to put on a bunch of prepubescent ballplayers, a few with voices higher than an Albert Pujols homer. Are we such a sports-obsessed society that well devour the sporting thrills and heartbreak of children just to hold us over until football season?
But try telling the 11-year-olds from impoverished Lugazi, Uganda, who play in bare feet at home, why they shouldnt be on television. Theyll just keep smiling and having the time of their lives in Williamsport, Pa., host since 1947 to the seriesa 10-day tournament featuring eight teams from across the U.S. and eight international teams from places like Mexico, Curaao, Japan and Panama.
Plus, the kids give better interviews than the pros. After Lucas hurled his no-no, an ESPN reporter asked a typical postgame question: How did it feel to be on the bottom of a celebratory dog pile? Its exciting, Lucas said. But then at the end, it really hurts. Sharp, and funny. Can we call him up to the big leagues?
Sean Gregory is a staff writer atTIME.
Wayne Lawrence is a Brooklyn-based photographer. See more of his work here.
Although she is one of the youngest athletes set to compete in this summer’s Olympic games, 15-year-old Carolina Mendoza displays a maturity beyond her years through her training. In early June, TIME commissioned photographer Tomas Munita to photograph Mendoza as she prepared to represent Mexico in the 10-m platform dive in London—one of the only remaining Olympic sports permitting teenage competitors as young as 14.
(For daily coverage of the 2012 Games, visit TIME’s Olympics blog)
Munita, who photographed Mendoza at the National High-Performance Center (CNAR) in Mexico City, was drawn to his subject’s balanced approach to her training. At an age where many kids face distractions from friends, family and school, Mendoza has found a rare balance in the frenzy of her life.
“Her happiness and professionalism completely explains her success,” he said. “She is not just tough practicing over and over again, but she also loves what she does as a challenge and a game—not just as pure competition.”
Mendoza seems perfectly suited for the rigors of the Olympics. Learning to walk at 9 months old and swimming by age 2, she was encouraged athletically by her parents: her mother, a Mexican national track-and-field champion and her father, an Olympic cyclist competing at the 1968 Mexico City Games.
At age 11, Mendoza discovered that her experience in both swimming and gymnastics found harmony in diving. And now, four years later, she is packing for the London Games.
Munita watched in awe as Mendoza dove again and again during practice. “She works every detail systematically and patiently. In between each dive, she finds time to joke and laugh loudly with her partners,” he said. “Then, suddenly, she’s running up the ladders again.”
Read more about Carolina Mendoza on TIME.com.
Tomas Munita is a freelance photographer based in Santiago, Chile. He previously photographed Church and State: The Role of Religion in Cuba for TIME.