House in Tehuantepec, Tina Modotti, 1923-30
Tina Modotti, PorträtTina ModottiVereinigte Staaten, 1896–1942

House in Tehuantepec

1923-30 · Photograph

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Wo ist „House in Tehuantepec“ heute? Sammlung: Museum of Modern Art, New York City. Derzeit nicht ausgestellt. Geprüft 22. September 2026.

Museum of Modern Art

New York City, Vereinigte Staaten

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Inventarnummer
340.1965

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Im Leben von Tina Modotti

Das ganze Leben
  1. 1921

    Meets Edward Weston

    In Los Angeles, in the bohemian circle of the couple's friends, Modotti meets the photographer Edward Weston and his creative partner Margrethe Mather; by 1921 she is Weston's lover. It is through her relationship with him that she develops into an important fine-art photographer and documentarian.

  2. 1923

    Returns to Mexico City with Weston

    Modotti returns to Mexico City with Weston and his son Chandler, leaving behind Weston's wife Flora and their three youngest children; she agrees to run his studio free of charge in return for his mentoring in photography. Other accounts say she set out for Mexico with Weston as early as 1922.

  3. 1927

    Joins the Mexican Communist Party

    Modotti joins the Mexican Communist Party and becomes far more politically active: her focus shifts, and more and more of her work becomes politically motivated. The Mexican photographer Manuel Álvarez Bravo divided her photographic career into two categories, “Romantic” and “Revolutionary”.

  4. 1929

    Mella assassinated; Modotti arrested

    Julio Antonio Mella is assassinated while walking in the street with Modotti from the offices of Red Aid; Modotti is arrested at once but later released and cleared of his murder.

  5. 1930

    Exiled from Mexico

    Amid the Mexican government's anti-communist campaign, and on suspicion of plotting the attempt on President Ortiz Rubio, Modotti is expelled from Mexico.

  6. from 1931

    Gives up photography for politics

    After 1931 Modotti no longer photographs, and reports of later photographs are unsubstantiated. She explained her decision to abandon photography for political work after her expulsion from Mexico by saying that she could not solve the problem of life by losing herself in the problem of art.

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