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Antonio Caballero, Sandra Chávez, fotonovela para la revista “Capricho,” ca. 1972/2010, black-and-white photograph, 39 3/8 x 39 3/8".

Antonio Caballero

Sikkema Jenkins & Co.

Antonio Caballero, Sandra Chávez, fotonovela para la revista “Capricho,” ca. 1972/2010, black-and-white photograph, 39 3/8 x 39 3/8".

Antonio Caballero likes photographs of mostly handsome young people in conditions of melodrama—romance, marriage, adultery, plane crash. In his world rather more than in mine, every gesture is freighted with meaning, as if capitalized, a phone call becoming The Phone Call, a train ride The Embarkation. A woman standing in the street, looking at dresses in a shop window, strikes a pose that is literally statuesque—she might be modeling for the Venus de Milo—while a girl getting into a car curls herself elaborately and unnecessarily around the steering wheel like a cat. Between 1963 and 1978, Caballero, a native of Mexico City, made five hundred fotonovelas, romances and melodramas resembling comic books but realized with photographs rather than drawings. In other words, he orchestrated casts of, what to call them—actors? models? posers?—in scenes he shot

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