Arthur Tress:Mexico 64-65, on display at the Wittliff Collection
Every person has a certain type of “self” that they put on display for others to see and help one feel distinguished from others. Most people have many types of ‘selves’ based on the context of their situation at a given moment and culture. One may act or appear a certain way when in a professional setting and then a completely different way when they are in the comfort and company of friends and family. Arthur Tress’s exhibition of Mexico: 64- 65 featured in the Wittliff Collection explores the different kinds of selves his subjects may portray based on the context of their environment and culture. The themes that this exhibit focuses on is important because the portrayals of different selves based on context is universal through different cultures. It is something that is easy to relate to, even if we do not come from that culture specifically. A viewer can still relate to the pride one feels while seeing another celebrating their culture, especially in trying times. Tress’s use of photography expertly captures the vastness and duality of the selves that one may use in everyday life based on the context of a moment. When first entering the exhibit, the viewer finds that the walls are covered in a single line of Tress’s work. If the walls were divided vertically, each photograph would have its own space. This is set up to allow the viewer to easily walk and view the work in one fluid direction. The placing of the photographs is very important to create Tress’s narrative. The exhibit is set up for the viewer to move through the collection in a very specific manner. The grouping of certain photographs together helps create very specific subgroups of the ‘selves’ one can find throughout cultures. As one moves through the exhibit the ‘selves’ become more and more of a personal self and a more outward celebration of culture that is slowly exposed to the photographer over time. Every piece in the exhibition is a black and white photograph typically with at least one figure in the frame. Most of the photographs are taken from an eye-level angle, while some are taken from a lower or higher angle. A majority of the figures are placed in the center of the picture plane, but other photographs contain figures on the edge of the picture. The first few photographs shown are of figures in what seems to be a more metropolitan area, showing shops in the background and the figures dressed in nice clothes. The figures are aware that they are being photographed and are deliberately posing for it. Their eyes meet the viewers eyes, showing their awareness. These figures’ ages range from young children to elderly, this is apparent in the size and activity of the figure. The majority of the younger figures are shown smiling for the photographer, whereas older figures seem stationary and do not smile as often. The first part of the exhibition has a focus on the figures that are out in public. They are concerned with what others who do not know them may think of them and therefore, to give everyone a good impression of their superficial or surface level selves, wear their best dresses and smile. We see multiple people in front of stores which leave the viewer to assume they are in a larger city and that the trip to the city is a special occasion, especially since they are dressed up, and obviously posing for a photographer. This is a display of the self that is similar throughout cultures. This would be the selves within cultures that are the easiest for other cultures to relate to because the current trends and popular fads at time will be similar, especially in areas that would be culturally diverse like a metropolitan area, which we assume the subjects of the first part are in. As one moves throughout the exhibit, the scenes change into more politically charged themes. One specific photograph shows figures in clothing resembling military uniforms waiting in a stop by trains. The men have sullen expressions, further hinting that this is a moment of very important and tense political atmosphere, and remind the viewer that these men are leaving their family and friends to put their lives at risk for something that they believe passionately in. The train sits in the upper right hand corner of the picture but takes up a majority of the picture plane. This gives the train a very heavy weight, which matches the emotional weight the soldiers may be feeling. Following the men by the train are figures adorned with text and serious expressions gathered in such large numbers that the frame is filled with figures feels like it is bursting with them. The men seem to be in motion, holding signs. The signs display logos with the initials PAI, representing a political group of the time. From these things displayed in the photograph, the viewer can assume that a political rally is taking place. This second collection that features images containing political rallies and soldiers is a display of a public self that is has a more personal and important meaning. The men do not pay attention to the camera or the photographer, their eyes never meeting the viewer or their faces are obscured, showing that they are preoccupied with much more important concerns. These are selves that in a culture will be easy to relate to, especially to certain political subgroups throughout cultures. These selves focus on the belief aspect of culture and self. Political subjects are something that evoke very emotional responses and are easily and passionately supported or rejected by certain subgroups, which makes them a very powerful part of this exhibit, even if only a few of these types of photographs are on display. Farther along images are shown of more rural and run-down areas. Figures in market place setting are shown along in this setting, which the interiors of small shops being shown. The collection of photographs that display this setting can be assumed to take place in smaller public spaces that seem like they are in small rural towns. The figures in the photographs seem to know each other and have some sort of connection, usually turned away from the viewer and mouths open as if in conversation. One photo contains a man sitting and waiting in a chair with a large hat in his hand, perhaps waiting for a service for this hat, since he has another hat already on his head. Next to him we see a newspaper, further suggesting that the is waiting on something. The remaining pieces of the exhibit are contained in a different room, which serves as a physical divider of the subjects displayed. This room’s photographs display figures in clothing hinting at celebrations and festivals, due to their differences in the figure’s apparel in the first half of the exhibit. Some of the images portray what seems to be a festival, with figures wearing headdresses and clothing that seems to be the recreation of tribal outfits. As one reaches the end of the exhibit the expressions of the figures begin to become more jovial. Some of these figures can be assumed to be dancing, as their bodies strike poses that suggest a large amount of movement and others some carry instruments, further suggesting some sort of celebration. In one photograph we see a man in a tunic happily play a guitar-like instrument. In the background there are mountains and we can see other people behind the main figure, smiling. Since we can deduce that this main figure is in a crowd and playing music for the people around him, it is safe to stay that he too is part of a celebration. The final grouping contains the most personal collection of photographs, showing groups of people that identify as a group based on their beliefs or interests. Some of the photos contain children with costumes on, hinting at some sort of parade and the rest seem part of some sort of religious or belief-driven celebration, probably of some native group, perhaps Mayan. The final piece of the exhibit is Tress’s own figure, perhaps taking part in these celebrations, joyfully laughing at whoever the photographer is. Ending on this photograph is like Tress is asking us what self we are currently displaying and asking us to celebrate culture with those around us because it is what makes us unique and is a beautiful thing to share with others. Tress’s work focuses on life in Mexico during the mid-60s. This is known not only because of the title of the exhibition, but can also be seen in the apparel of the subjects but also in the works that feature some military presence and political rallies. If the viewer knows the history of the 60s in Mexico, they would know that it was the time of the Mexican Dirty War, which is apparent in the photos containing the political rallies made up of Díaz Ordaz supporters. Contrasting this stressful and upsetting subject is a celebration of culture. Mixing these two subjects together should make the viewer realize that even if there is dark things that are happening right now, we should still focus on displaying the self that celebrates our being. If you compare the first few photographs they contrast greatly with the last few. One of the first photographs shows a family sitting together dressed in nice clothing and smiling for the camera whereas one of the last photos shows two men in native-looking headdresses staring off in the distance trying to ignore the photographer. Tress’s photographs are a demonstration of the different kind of selves that we show in the world based on the environment that we are in at the moment and the duality of man. For example, a figure from the first section of the exhibit, who is dressed in the latest fashions, can also be seen at a Mayan celebration dressed in a headdress and traditional garb. This is not to say that the subjects of these photographs are completely different types of people, but based on the situation we choose to show certain parts of ourselves and hide others. One may appear as a very contemporary person and then still celebrate their ancient cultural roots. Showing your culture through your identity is also and most importantly done through your actions and beliefs, not just your physical appearance. Throughout the exhibit we see a mix of many types of physically different looking people, but we identify them as Mexican not only from the name of the exhibit, but by the things they are doing and celebrating. We are shown things that are very well known from Hispanic and Mexican culture and for one that knows Mexican history, for example luchador masks, large sombreros, signs in Spanish, and Mayan celebrations. This is what makes the duality of a person so amazing. We can see and relate these things based on their cultural context even if they seem so drastically unalike. In conclusion, Arthur Tress’s Mexico: 64- 65, is a very powerful narrative of the Mexican culture of the mid 1960, when there was political discomfort in Mexico and the world in general, and how the subjects of his photographs present themselves at specific times, celebrating their culture. He uses his photographs as a mirror for his audience and with it he tells us, “This is you. Look closer and see how this is you, maybe not in this particular moment, but at some point this is or was you.” This is a reminder of how sometimes it is easy to look at another person and believe that you share nothing with them, but culture is the number one thing that bridges every person. It is through the selves that we display that make culture relatable universally. We need to look past the things that we believe are different about ourselves and realize how similar we actually are and celebrate it. (2024)