tical and social rights of the Indigenous people of
Peru ́. Chambi is recognized for his photos of Mac-
chu Picchu, but most notably for his images of
people and cityscapes of Cuzco. Castro has noted
that Chambi photographed Cuzco society ‘‘with-
out exoticizing the Indians or ridiculing the
wealthy.’’ Between the late 1930s and the late
1970s, Chambi was scarcely acknowledged, until,
due to the efforts of photographer Edward Ranney
and other researchers, Chambi emerged into the in-
ternational spotlight and is now considered one of
the fathers of twentieth-century Latin American
photography. According to photographer and
researcher Jorge Heredia, the decade of the 1950s
was the ‘‘era of photojournalism’’ in Peru ́, represent-
ed by Pestan ̃a and Chino Domı ́nguez. In the late
1970s, photographer Fernando La Rosa was direc-
tor of Fotogalerı ́a Sequencia, which ‘‘fostered a
renaissance among photographers of all ideologies.’’
Another notable project was TAFOS (1986–1997),
which provided the means for grassroots people to
photograph themselves. Fernando Castro noted
that their images ‘‘reveal their own intimate world
without transgressing it.’’ Other Peruvian photogra-
phers include Romulo Sessarego, Sebastia ́nRodrı ́-
guez, Abraham Guille ́n Melgar, Billy Hare, and
Roberto Huarcaya. A major international exhibi-
tion,Peruvian Photography: Images of the Southern
Andes, 1900–1945(1996) showcased the work of
Cuzco School photographers Martı ́n Chambi,
Miguel Chani, Juan Manuel Figueroa Aznar, Jose
Gabriel Gonza ́lez, and Crisanto Cabrera.
Uruguay
The Sociedad Fotogra ́fica de Aficionados was
founded in 1884, and The Foto Club de Montevi-
deo operated from 1901 to 1917. The Foto Club
Uruguayo was founded in 1940 and has been a
major promoter of photography in Uruguay. In
1990, it sponsored FotoEvento, a homage to 150
years of photography in Uruguay and 50 years of
the Foto Club. It also sponsors an annual exposi-
tion and publishes the journalRevelarte.Notable
photographers include long-lived Jose Maria Silva
(1897–2000), who was Carlos Gardel’s favorite
photographer, and who also specialized in portraits
of entertainers. Alfredo Testoni (1919–), a photo-
journalist, is known for his surrealistic ‘‘psycho-
logical images’’ of artists and writers. Mario
Marotta, also a photojournalist, works with
mixed-media experimental photography. Other
photographers active in the latter decades of the
twentieth century include Jorge Ameal, Daniel
Caselli, Juan A ́ngel Urruzola, and Daniel Stapff.Venezuela
Between the end of the nineteenth century and the
beginning of the twentieth, Henrique Avril was Vene-
zuela’s ‘‘gran foto ́grafo.’’ He traveled throughout
Venezuela photographing various regions and also
founded El Club Daguerre (c. 1898), which over time
assembled what is now considered the ‘‘grand pho-
tographic archive’’ of Venezuela. His wife Maria
Lourdes was a retoucher and may have taken a num-
ber of photographs attributed to Henrique. Two
other early twentieth-century women photographers
were Maria Luisa Gonza ́lez Rincones (1910–1990)
and Fina Go ́mez Revenga (1920–). As in other loca-
tions, acceptance of photography in mainstream art
circles was slow. The Primer Salon de Aficionados
del Arte Fotogra ́fico was held in 1934, and exhibiting
photographers included five women. In 1952, pho-
tographer Alfredo Boulton’s article ‘‘Is Photography
an Art?’’ marked the beginning of contemporary
photography in Venezuela. In it he proposed that
photographers stop arguing about aesthetics and
begin inquiring about the intrinsic possibilities of
the camera. Other notable Venezuelan photogra-
phers include Luis Felipe Toro (1881–1955), who
chronicled the government of Juan Vicente Gomez
and the urban development of Caracas; Ricardo
Razetti; Carlos Puche; Luis Brito; Carlos Herrera;
Nelson Garrido; Barbara Bra ̈ndli; and Paolo Gas-
parini (1934), considered a major influence on Vene-
zuelan photography since the 1950s. Publications
using photographs includedCojo Ilustrado(1892–
1915),Elite(1925),Farol(1939–1975),CAL(1962–
1967), El Cı ́rculo Anaranjado/Disco Anaranjado
(1948–1975), and Revista Shell (1952–1962). In
1952, The Museo de Bellas Artes held its first pho-
tography exhibition, signaling a new acceptance of
photography. The bookstore La Libreria, founded in
1973, was also a significant force in marketing photo-
graphy books and sponsoring exhibits. The first exhi-
bit on the history of photography in Venezuela was
held in 1977.
The history of South American photography is a
multifaceted record, one of portrait studios that
expanded into documenting the quotidian, cul-
tural, and geographic facets of their countries.
Their inventory of images included the pre-Colum-
bian and the modern, the exotic and the banal. It is
also a record of the struggle to legitimize pho-
tography, and the role played by photo clubs and
publications in promoting acceptance. It is a recordSOUTH AMERICA, PHOTOGRAPHY IN