Conceptual
SEGUNDO PISO (HANDS WITH GLOVES), 1986
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Luis Brito, Venezuela, b. 1945–2015
Luis Brito's artistic odyssey began after he completed his secondary education at the Luis Caballero Mejías Technical School in Caracas. In 1964, he embarked on a cinematic exploration under the tutelage of Antonio Llerandi at the Ateneo de Caracas. Two years later, in 1966, he commenced his career at the National Institute of Culture and Fine Arts (Inciba) in Caracas, initially in the administration realm and subsequently in the photography department.
Around 1970, his destiny as a photographer took shape when he received mentorship from the accomplished photographer Vladimir Sersa, a pivotal moment that was further nurtured by Tito Caula, another prominent figure in the field. The invaluable guidance and encouragement of these mentors fueled Brito's passion for photography, motivating him to delve deeper into the art form.
In 1971, Luis Brito assumed the role of director of the Inciba photography department, a significant position he held until 1976. His journey as a self-taught photographer unfolded during this period, with Sersa's guidance serving as a compass. Many nights were spent in the Inciba laboratory, honing his skills in the intricate processes of development and printing.
As part of his pursuit of photographic excellence, Luis Brito, like numerous aspiring photographers of his era, enrolled in Carlos Herrera's photography courses at the Faculty of Sciences at the Central University of Venezuela.
In 1975, Brito played an instrumental role in the creation of El Grupo, a collective of photographers that included luminaries such as Vladimir Sersa, Jorge Vall, Ricardo Armas, Fermín Valladares, and Alexis Pérez-Luna. Among their significant undertakings was the traveling exhibition "To Enjoy Reality" in 1976, which served as a powerful reflection of the stark juxtaposition between the opulence and extravagance of Venezuela during that period and the stark reality of poverty faced by many Venezuelans.
In the same year, Luis Brito embarked on a pivotal photographic project titled "Los Desterrados," which depicted the Holy Week in Caracas. This series marked his first solo exhibition at the Sala Ocre in Caracas in 1976. "Los Desterrados" delved into profound themes recurring throughout Brito's oeuvre, including religion, solitude, madness, aging, and mortality. The series also highlighted his mastery of composition, use of contrasts, and impactful close-up shots.
In 1976, Brito ventured into the Anare asylum, covertly infiltrating the institution disguised as a nurse to document the harrowing experiences of the patients. This endeavor resulted in the series "Crimes of Peace," also known as "Anare," and provided a poignant and dramatic portrayal of the inmates' isolation, mental instability, and abandonment.
During this period, Brito also turned his lens toward the fields of dance and theater, capturing the essence of these art forms for Escena magazine. His photographic style in these disciplines was characterized by stark contrasts, absolute black, the absence of gray tones, and strategically focused areas of light. Luis Brito's remarkable journey through the realms of photography and his poignant exploration of the human condition continue to resonate with audiences, making him an enduring figure in the world of contemporary photography.
Luis Brito's artistic odyssey began after he completed his secondary education at the Luis Caballero Mejías Technical School in Caracas. In 1964, he embarked on a cinematic exploration under the tutelage of Antonio Llerandi at the Ateneo de Caracas. Two years later, in 1966, he commenced his career at the National Institute of Culture and Fine Arts (Inciba) in Caracas, initially in the administration realm and subsequently in the photography department.
Around 1970, his destiny as a photographer took shape when he received mentorship from the accomplished photographer Vladimir Sersa, a pivotal moment that was further nurtured by Tito Caula, another prominent figure in the field. The invaluable guidance and encouragement of these mentors fueled Brito's passion for photography, motivating him to delve deeper into the art form.
In 1971, Luis Brito assumed the role of director of the Inciba photography department, a significant position he held until 1976. His journey as a self-taught photographer unfolded during this period, with Sersa's guidance serving as a compass. Many nights were spent in the Inciba laboratory, honing his skills in the intricate processes of development and printing.
As part of his pursuit of photographic excellence, Luis Brito, like numerous aspiring photographers of his era, enrolled in Carlos Herrera's photography courses at the Faculty of Sciences at the Central University of Venezuela.
In 1975, Brito played an instrumental role in the creation of El Grupo, a collective of photographers that included luminaries such as Vladimir Sersa, Jorge Vall, Ricardo Armas, Fermín Valladares, and Alexis Pérez-Luna. Among their significant undertakings was the traveling exhibition "To Enjoy Reality" in 1976, which served as a powerful reflection of the stark juxtaposition between the opulence and extravagance of Venezuela during that period and the stark reality of poverty faced by many Venezuelans.
In the same year, Luis Brito embarked on a pivotal photographic project titled "Los Desterrados," which depicted the Holy Week in Caracas. This series marked his first solo exhibition at the Sala Ocre in Caracas in 1976. "Los Desterrados" delved into profound themes recurring throughout Brito's oeuvre, including religion, solitude, madness, aging, and mortality. The series also highlighted his mastery of composition, use of contrasts, and impactful close-up shots.
In 1976, Brito ventured into the Anare asylum, covertly infiltrating the institution disguised as a nurse to document the harrowing experiences of the patients. This endeavor resulted in the series "Crimes of Peace," also known as "Anare," and provided a poignant and dramatic portrayal of the inmates' isolation, mental instability, and abandonment.
During this period, Brito also turned his lens toward the fields of dance and theater, capturing the essence of these art forms for Escena magazine. His photographic style in these disciplines was characterized by stark contrasts, absolute black, the absence of gray tones, and strategically focused areas of light. Luis Brito's remarkable journey through the realms of photography and his poignant exploration of the human condition continue to resonate with audiences, making him an enduring figure in the world of contemporary photography.
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