Bowdoin College Homepage
Bowdoin College Museum of Art Logo and Wordmark

Advanced Search
Preview image of work. gelatin silver print on paper,  Cementerio, Juchitán, Oaxaca 36576


Recommend keywords

Help us make our collections more accessible by providing keywords to describe this artwork. The BCMA uses the Getty Art & Architecture Thesaurus to provide consistent keywords. Enter a keyword in the field below and you will be prompted with a list of possible matching AAT preferred terms.


Cementerio, Juchitán, Oaxaca

Export record as: Plain text | JSON | CDWA-Lite | VRA Core 4


Graciela Iturbide (Mexico City, Mexico, 5/16/1942 - )


Cementerio, Juchitán, Oaxaca

Creation Date



late 20th century


17 1/4 x 13 in. (43.82 x 33.02 cm)



Creation Place

North America, United States

Medium and Support

gelatin silver print on paper

Credit Line

Archival Collection of Marion Boulton Stroud and Acadia Summer Arts Program, Mt. Desert Island, Maine. Gift from the Marion Boulton "Kippy" Stroud Foundation


This artwork may be under copyright. For further information, please consult the Museum’s Copyright Terms and Conditions.

Accession Number


The photograph brings together two of Iturbide’s favorite subjects, birds and death, to evoke the fleeting passage of life. She created it in 1988 in Juchitán, located in southern Mexico along the Isthmus of Tehauntepec, where she had been working since 1979, befriending many of the women, whom she described as “big, strong, politicized, emancipated wonderful women. I discovered this world of women and I made it my business to spend time with them and they gave me access to their daily world and to their traditions.” The rural region is famed for its syncretic fusion of Pre-Columbian Zapotec traditions and myths with Christian rituals and beliefs imposed during colonization. Hovering between imagination and keen observation, Iturbide credits her ability to elevate depictions of daily life to the trust she builds with her subjects: “I want to be clear that I do not work in the indigenous world if there is not complicity and respect. I don’t like it when they refer to my work as magical—it makes me furious.” Sarah Montross Curator, deCordova Sculpture Park and Museum, Lincoln, Massachusetts