Bio:
Luis's Delgado Qualtrough's photographic work integrates narrative and sequential still images to create idea-driven content. His work has evolved from documentary to a more personal style using humor, and constructed images which reflects his Mexican origins and his European humanist education, with an American quest for the new. His works has been exhibited worldwide and his prints and artist books have been widely exhibited and are held by many museums, institutions and private collectors. He has recently published work in “Pulsion Urbaines: Photographie Latino-Américaine” & “Noches Fieras” by Toluca Editions, “Changing Circumstances: Looking at the future of the planet” by FotoFest International and featured in Katalog - Journal of Photography, Denmark.
Luis Delgado started Malulu Editions to publish artistic works of unique cultural significance by an international group of visual artists. Malulu Editions works are available as photo books, artist books, editioned folios, and fine art prints.
Quotes, Notes & Etc.
Private & Public Collections:
Alumnos 47, Mexico City, Mexico
Centro Fotográfico Manuel Álvarez Bravo , Oaxaca, Mexico
Bancroft Library, University of California Berkeley
Bibliotheque National, Paris, France
Centro de la Imagen, Mexico City, Mexico
Consejo Mexicano de Fotografia, Mexico City, Mexico
En Foco, Bronx, NY
Fundacion Estudio 13, Gral. Roca, Argentina
Harry Ranson Humanities Research Center, Austin, Texas
Hood Museum of Art, Dartmouth College, Hannover, NH
Houston Museum of Fine Art, Houston, Texas
Lehigh University, Bethlehem, Pennsylvania
Michigan State University Libraries, East Lansing, Michigan
McFarlin Library, University of Tulsa, Tulsa, Oklahoma
Museet for Fotokunst, Odense, Denmark
Museo de Arte Contemporaneo de Salta, Argentina
Museu de Arte Moderna do Rio de Janeiro, Brazil
San Francisco Museum of Modern Art, California
Saint Olaf College,
UCLA Library, Los Angeles, California
Stanford University, Green Library, Stanford, California
The Mexican Museum, San Francisco, California
The Wittliff Collections, San Marcos, Texas
Union of Culture, Germany (DDR)
The Gilbert Cardenas Collection, South Bend , Indiana
The Graciela Iturbide Collection
The Jean-Louis Larivière Collection, Paris, France
The Jane Levy Reed Collection, San Francisco, California
The Joaquim Paiva Collection, Rio de Janeiro, Brazil
The Leticia & Stanislas Poniatowski Collection, Paris, France
The Elianne Thweat Collection, Houston, Texas
Recognition:
Arts & Letters Council, The Mexican Museum, San Francisco
Bienal de Fotografia, Mexico
Black Book, AR 100, Top Ten Annual Reports
Communication Arts, Awards of Excellence
Discoveries of the Meeting Place, FotoFest
Instituto Nacional de Bellas Artes, Mexico
Foundation of Art & Culture. NY - Fototeca de Cuba
MexAm Foundation
Photo Americas
Photo Metro
Potrero Nuevo Fund
The Peter S Reed Foundation
Spider Awards
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).