Nueva Luz Vol 2 Issue 4

N U E VA L U Z

a

photographic j o u r T) a 1 Vol. 2 No. 4, 1989

$4

N U E VA LUZ ^o/. 2 No. 4, 1989

a

photographic journal Editor Charles Biasiny-Rivera Associate Editor Betty Wilde Designer/Art Director Frank Gimpaya Editorial Assistant Maria Teresa Giancoli Translator Amaldo Sepulveda East Coast Distributors Total Circulation Services West Coast Distributors Cornucopia Typography Ortiz Typographies Printing Expedi Press

Nueva Luz (ISSN 0887-5855) is a photographicjour­ nalpublished by En Foco, Inc. 32 East Kingsbridge Road, Bronx, New York 10468, (212) 584-7718. Single issue price is $4.00, yearly individual subscription is $12.00 in the U.S. In all other countries, yearly subscription is $18.00, institutional subscription is $30.00.

Portfolios of at least 15 unmounted prints or copy slides may be submittedfor viewing. Ifmailed, the prints may be no larger than 11"* 14". A self-addressed stamped envelope and appropriate packaging must ac­ company all mailedportfolios to insure properreturn. We do not assume responsibility for unsolicitedphotographs or manuscripts sent by mail. Photographers wishing to deliverportfolios in person must call our office to make ar­ rangements. For advertising rates and distribution contact En Foco, Inc.

Copyright © 1989 by En Foco, Inc. All Rights Reserved Nueva Luz is made possible withfunding by the New York City Department of Cultural Affairs, Bronx Bor­ ough President, Fernando Ferrer, New York State Council on the Arts, Bronx Council on the Arts, The National En­ dowment for the Arts, a federal agency, and Art Matters, Inc. All rights reserved. Nothing may be reproduced or published in whole or in part without the written permis­ sion of the publisher, En Foco, Inc.

Editorial Pa£e

E

/ ultimo numero de Nueva Luz produjo un gran revuelo entre ciertas personas, si bien un solo subscriptor expreso su disgusto por haberpublicado elportafolio de desnudos familiares de Ricardo T. Barros. Unos pocos individuos con peso politico vociferaron a los cuatro vientos que usabamos fondos publicos para vender, segun ellos, pomografia infantil. Organizaron un ataque bien tramado contra nuestra organizacion tratando de intimidar nuestras fuentes estatales de dinero. Por suerte, estas no se manipulan asi porque si.

La comunidadartistica nos apoyo al crearun co­ mite ad hoc para encarar las acusaciones. Yo me re­ uni con elementos claves del gobiemo que tuvieron que lidiar con las criticas, y porfin tome dos aspirinas y me acoste a dormir.

Al mes siguiente alguien arrojo bombas contra las oficinas de un periodo en el Bronx que habia defendido en un editorial a Salman Rushdie, autor de Los versos satdnicos. Asi tambien se elimina algo con que no se esta de acuerdo, supongoyo, que recuerda muy bien la Alemania de Hitler.

Nosotros indicamos Nueva Luz parapresentar el trabajo de mayor calidadposible de personas de co­ lor; no nos interesa la fotografia recreativa ni la obra que denigra al individuo. Sostenemos que la foto­ grafia, como todo arte de calidad, posee elpoder de inspirar, conmover, y en ocasiones de confrontar al espectador, recoddndonos nuestro ideario y nuestro destino, acercandonos mas a nuestras pasiones.

El marginamiento imperdonable de fotografos de este pais que forman parte de culturas de “minorias ” no impide que grandes instituciones de arte reciban fondos publicos estimables. La ausencia de estosfotografos en exhibiciones significatives acusa el prejuicio y la praxis exclusionista en el campo curadoral establecido.

Para poder apreciar de llano el alcance y diversidad de la expresion fotografica en Estados Unidos es necesario integrar la experiencia de quienes han sido minorizados. No se hace sacandoles fotos que los representan como pobresitos infelices solicitando la compasion del mundo, tildando esto de documentacion, sino incorporando sus artistas y sus percepciones propias. Gran parte de la imagen contemporanea en tomo a nosotros es explotadora, nos empequefiece, y crea un obstaculo mayor que nuestros pueblos tienen que superar.

Nuestro historial de supervivencia no es una novedadpara nosotros. Uevamos siglos sobreviviendo en este continente. Lo que si es nuevo son los triunfos en presencia de tanta humillacion. Las paginas de Nueva Luz dan testimonio de ello. Triunfos que alargan los limites de lo visualy que brindan una contribucion singular ala fotografia norteamericana.

ur last issue of Nueva Luz created quite a fuss with a few people, though only one of our subscribers communicated displeasure that we published Ricardo T. Banos' portfolio of his family in a nude study. A handful ofpolitically connected individuals raised a hue and cry about using public monies for what they considered childpornography.

They mounted a calculated attack against our organ­ ization by pressuring our governmental funding sources which I’m glad to say are not so easily manip­ ulated.

The arts community rallied around us creating an ad hoc committee to refute the name calling. I met with key government funders to which the crit­ icism had been directed andfinally took two aspirin and went to bed.

The following month the offices of a Bronx newspaper were firebombedforprinting en editorial defending Salman Rushdie, the author of The Sat­ anic Verses. I suppose thats another way ofeliminat­ ing something you don't agree with but thats too reminiscent ofHitler's Germany.

We started Nueva Luz to show the finest work possible emanating from peoples of color; we are neither interested in recreational photography nor work that demeans people. We believe that photog­ raphy, as all fine art does, has the power to inspire, move and, at times, confront the viewer, reminding us ofourpurpose and destiny, bringing us in contact with our passions.

The unconscionable marginalization ofAmeri­ can photographers, belonging to the so-called min­ ority cultures does not prevent large art institutions from receiving major public funds. The absence of these photographers from important photographic exhibitions indicates the bias and exclusionary prac­ tice found within the established curatorial arena.

In order to fully appreciate the extent and diver­ sity of the American photographic expression, it is necessary to include the experience ofthose who have been minoricized. Not by taking their pictures por­ traying them as diminutive minority citizens for all the world to pity, claiming to document them, but by including their artists and their own perceptions.

Much ofthe contemporary documentation produced about us has been exploitive and belittling, creating additional hurdle's for our people to overcome.

Our history ofsurvival is not very new to us, we have been surviving on this continent for many cen­ turies; what is new is our triumph, in the face ofall that humiliation, as represented in the issues of Nueva Luz. This success expands visual boundaries and offers a unique contribution to American pho­ tography.

Charles Biasiny-Rivera Editor

Table of Coplept^ .... page 1 . pages 2-11 pages 12-21 pages 22-51 . • • .page 52 -----page 55

Editorial...................................

Hector M. Mendez Caratini . . .

RafaelRamirez.........................

Carrie M. Weems.....................

Commentary by MelRosenthal Comentario...............................

Cover photograph: Rafael Ramirez, Untitled, 1987, Silver Gelatin Print, 7Vi" x 7Vi"

1

Hector M. Merjdez Caratipi

§

Os

ft

£

3

Hector M. Mendez Caratini was born in San Juan, Puerto Rico. His work has been widely exhibited in museums and galleries throughout the United States, Latin America and Europe. His photographs are in the collections ofthe Metropolitan Museum of Art, New York; The Center for Creative Photog­ raphy, Arizona; and Casa Las Americas, Cuba. For years, he has been documenting the coffee planta­ tions as well as the Taino petroglyphs throughout the island. For the past sixteen years, he has collaborated in medical research on the pathological changes of diabetic retinopathy.

“MARTIRES is a personal homage to all those beings and nations which strongly believed in them­ selves, but were annihilated by external forces in their flight for liberation. Symbolically, it explores the existential meaning of life, liberty and death. ”

2

Hector M. Mepdez Cara tipi

"Lechon", N.D., Platinum Print, 10" x 8"

3

Hector M. Merjdez Caratipi

“Icarus 11", N.D., Platinum Print, 10" x 8"

4

Hector M. Mepdez Caratirji

“Icarus I", N.D., Platinum Print, 10" x 8"

5

Hector M. Merjdez Caratipi

“Toa, II", N.D., Platinum Print, 10" x 8"

6

Hector M. Merjdez Caratirji

“Chicharron, N.D., Platinum Print, 10" x 8"

7

Hector M. Merjdez Caratipi

“Toa, I", N.D., Platinum Print, 8" x 10"

8

Hector M. Mepdez Caralipi

"Gallo de Pelea, II", N.D., Platinum Print, 8" x 10"

9

Hector M. Merjdez Caratipi

m

¥ .V

-V

♦

“r.

,:■ ■

-t

•*. .^ ^

•<

a V * * .

1 v * .'

“

•

«

*

#

\

x'

«

4

-

'

¥

*

7. - • V

* w

k

.W

V

*

. **

;

i

*•

i

4

I

•

■

4,

• • •-

ft

I

«

*

\ ' •'

“Is/a I”, N.D., Platinum Print, 10" x 8"

10

ft

/

Hector M. Merjdez Caralirji

â&#x20AC;&#x153;Islall", N.D., Platinum Print, 10" x 8"

11

Rafael Rarpirez

§os

i Sr Rafael Ramirez was bom in New York City. He was educated at Queens College, Flushing, NY and the Germain School ofCommercial Photography, NYC. He received a CAPS award (1981), and has exhibited at the New Museum of Contemporary Art, El Museo del Barrio, City Gallery, NYC; Lightwork Gallery, Syracuse, NY; and Casa Aboy, Miramar, GaleriaLas Palmas, Old San Juan, Plaza Las Americas/Botello Gallery, University of Puerto Rico, Rio Piedras, all Puerto Rico. His work has been published in Mairena, an anthology of contemporary poetry.

“My work has been influenced by Atget, who usedphotography as a form ofpointing. It could be done with a finger, with the direction ofan eye, or with a camera. What matters most is the sensitivity, insight and intuition of the pointer and not the in­ strument used. ”

12

Rafael Rairurez

Untitledâ&#x20AC;&#x2122; 7957, Silver Gelatin Print, 7Vi" x 7l/i"

13

Rafael Rarpirez

Untitled, 1987, Silver Gelatin Print, 7 Vi" x 7Vi"

14

Rafael Rarpirez

Untitled, 1987, Silver Gelatin Print, 7Vi" x 7 Vi"

15

Rafael Rarpirez

Untitled, 1988, Silver Gelatin Print, 7 Vi" x 7â&#x20AC;&#x2DC;A"

16

Rafael Rarrdrez

TAlABARTFi-it*

rnmoza^

Untitled, 1987, Silver Gelatin Print, 7Vi" x 7 xh "

17

Rafael Ran>irez

Untitled, 1987, Silver Gelatin Print, 7x/i" x 7Vi"

18

Rafael Ran)irez

Untitled\ 1988, Silver Gelatin Print, 7Vi" x 7Vi"

19

Rafael Rarpirez

Untitled, 1987, Silver Gelatin Print, 7Vi" x 7 Vi"

20

Rafael Rarpirez

*> '

Untitled, 1987, Silver Gelatin Print, 7 Vi" x 7 Vi"

21

Carrie Mae "Ween^ 1

On

:~ 3

*3 c

5 •8

A, f .

t

4.$ r 1

“Carrie Mae Weems was bom in Portland\ Oregon andreceived aB.F.A. from California Institute ofthe Arts, Valencia, CA and an M.F.A. fromthe Univer­ sity of California, San Diego. Her exhibitions in­ clude the Alternative Museum, the New Museum of Contemporary Art, NYC; Williams College, Wil­ liamstown, MA, Rhode Island School of Design, Providence, RI, Cityscape Photo Gallery, Pasadena, CA, Multi Cultural Gallery and Centerfor Women s Studies and Services, San Diego, CA. Her photo­ graphs have been published in Aperture, Image, Blatant and Essence. She is a Smithsonian fellow, and has received grants from the National Endow­ ment for the Arts and the California Arts Council.

She currently teaches in the film and photography department at Hampshire College, Amherst, Massa­ chusetts.

“Pm feeling extremely colored now days, and Pm happy about my ‘conditions. 'For much too long, Pve placed great emphasis on being European and Western. Often at the expense of overlooking the value ofAfro-American culture, Pve used European aesthetics and standards as a starting point for creating my own work. So this notion of feeling col­ ored has to do with drawing upon Afro-American culture as a foundation for creating art. ”

22

Carrie Mae “Weerri^

"Portrait ofa Fallen Woman”, 1988, Silver Gelatin Print, 7" x 7"

23

Carrie Mae â&#x20AC;&#x153;Ween)?

BLACK MAN HOLDING WATERMELON

"Black Man Holding Watermelon", 1986, Silver Gelatin Print, 16" x 20"

24

Carrie Mae Ween^

WHITE PATTY, WHITE PATTY, YOU DON'T SHINE, MEET YOU AROUND THE CORNER, AND BEAT YOUR BEHIND.

"You Don't Shine", 1987, Silver Gelatin Print, 16" x 20"

25

Carrie Mae Weerr^

"American Iconsâ&#x20AC;?, 1988, Silver Gelatin Print, 7" x 7"

26

Carrie Mae â&#x20AC;&#x153;Ween^

"American Icons", 1988/89, Silver Gelatin Print, 7" x 7"

27

Carrie Mae â&#x20AC;&#x2DC;Ween>^

"American Icons", 1989, Silver Gelatin Print, 7" x 7"

28

Carrie Mae "Weeix^

“American Icons”, 1988/89, Silver Gelatin Print, 7" x 7"

29

Carrie Mae 'Weeiri^

7 Love Coffee ", 1988, Silver Gelatin Print, 8V4" x 8V4"

30

Carrie Mae "Ween^

Girl evidentl plans on sta; when I got yesterday his my bed

â&#x20AC;&#x153;His Hat", 1989, Silver Gelatin Print, 7" x 7"

31

man .use from was o

rk

c o

e p t ary evitability of decay. As the project continued he began to manipulate and personalize the objects.

“Sometimes I would dry them (the aging, disin­ tegrating time process) on the roof of my tropical studio. While photographing them as still lifes, I would personalize them by including finger nails, hairs, etc.” The last thing he added was a political point of view. Perhaps to make sure that his work wouldn't be considered only as formal art works, he called his portfolio of ten platinum prints Martires and defined them as follows: “Martires is a personal homage to all those beings and nations which strong­ ly believed in themselves, but were annihilated by external forces in their flight for liberation. Sym­ bolically, it explores the existential meaning of life, liberty and death.”

Carrie Mae Weems's work confronts existential problems that come out of her everyday life as an Afro-American woman. She works at one of the bloody crossroads where art andpolitics meet. As she put it: “Let me simply say that my primary concern in art, as in politics, is with the status and place of AfroAmericans in our country.” She explores the racism ofwhites and the internalized racism ofblacks. Her stagedphotos deal deeply with the pain and horrible price we pay for the racism that is so pervasive andall encompassing in this society.

Her choice ofstrategies is brilliant. Using folk­ lore, particularly jokes, proverbs and verses, and ob­ jects such as sambo dolls and other reminders ofde­ bilitating stereotypes, she forces confrontations with the semi-conscious beliefs about race and sex that we all live with and spend time and energy avoiding.

She, of course, as an Afro-American woman could avoid dealing with those beliefs, couldavoid them in her art, but she not only doesn't, she makes them a major subject. In this portfolio, she explores and ex­ plodes stereotypes about the sexuality and gender roles of Afro-Americans and makes clear that it is possible to create visually striking images that come out of one's culture.

The work ofthese three creative and committed artists enriches us all and reminds us ofthe possibili­ ties inherent in photography. One of the aspects of photography that is to be loved is its democratic pos­ sibilities. It is an easy medium to get into, though it requires hard work and discipline. Those with talent can not only use it to express their thoughts, feelings and even hopes, but can add to what we know about the world. These artists show us that the material of art is not only all around us, but is inside us.

t some point or other most artists tend to suc­ cumb to the romantic notion that their muses need the exotic andperhaps even the extreme limits oflife. One ofthe hard things to teach art students is that their best work will come out of their own lives and experiences. Photography students are the hard­ est to convince of this. Having seen Under Fire, Blow Up, El Salvador, The Eyes of Laura Mars, and My Year of Living Dangerously, they confuse the lives of a few photojoumalists andfashionable photograph­ ers with the world ofphotography. So it is a pleasure to study the three portfolios in this issue and to have them to show to people.

Rafael Ramirez Aviles wrote: “I don’t travel far for my photographs. They usually occur within walk­ ing distance from my home. From the comfort of familiar surroundings I look for something that makes me look twice, for something special that calls my unanalytic attention.” What drew his attention was what was happening in his own neighborhood, Puerto Nuevo. Year after year the landscape gradu­ ally shifted until suddenly he realized it was becom­ ing a different place—and not necessarily a better one. His photographs tell us about change, about growth, destruction, rebirth and death. The old gives way to the new and the modem chokes out the traditional. The tension between the threat ofurban­ ization and the reminder of the tropical energy of nature is continually bursting out within the frames yetis containedwithin a toughformal discipline. But his work reminds us that in Puerto Rico, man might not have the last word.

Hector M. Mendez Caratini's work is also about change. As he once wrote: “My camera aims to pre­ serve realities lessened by the flow of time and his­ tory. Faced with the fleet and sweeping drive of prog­ ress, some of the shaping roots are transformed, while others fade away, crumble and succumb.” This work is a reproduction of a beautiful portfolio of platinum prints which he named Matures (Martyrs).

The project began, as so many ofthe best do, out of something else. One early morning Mendez Caratini was about to photograph a “classic misty lake'' scene.

He looked down and saw a toad that had been squashed by a car and became fascinated not only by itsform but its metaphoric implications. He took the carcass home to dry, to think about and, ultimately, to photograph. Over the next seven years he searched for and found many other organic objects that in­ trigued him. All became his subjects, his compan­ ions and reminders ofthe fragility oflife and the in-

Mel Rosenthal

Mel Rosenthal is a photographer, teacher, and writer. His photographs of the South Bronx will be published in a book, The South Bronx of America, by Curbstone Press next year. He is the Director ofPhotographic Programs at Empire State College in New York City.

32

c o

e V) t a r i o

E

proyecto empezo a manipulary a hacer personates los objetos. “A veces los secaba (el proceso envejecedor, desintegrador del tiempo) en el techo de mi estudio tropical. Mientras los fotografiaba como naturalezas muertas, los volvta personates anadiendo unas, pelos, etc. ” Lo ultimo que anadio fue un punto de vista politico. Tal vez para imposibilitar que se consideraran obras puramente formates, titulo su portafolio de diez impresiones de platino Martires y lo definio de esta manera: “Martires es un homenaje personal a todos esos seres y naciones que creyeron firmemente en si mismos, pero que fueron aniquilados por fuerzas extemas en su vuelo de liberacion. Simbolicamente, explora el sentido existencial de la vida, la libertad y la muerte. " Los trabajos de Carrie Mae Weems confrontan problemas existenciales que emanan de su diario vivirde mujer africanoamericana. Labora ella en una sangrienta coyuntura en la que arte y politica se hermanan. Como ella misma dice: llPermltanme decir simplemente que mi fundamental inquietud en el arte, como en politica, es el status y la ubicacion de los africanoamericanos en nuestro pals. ” Explora el racismo de blancos y el racismo intemalizado de negros. Susfotograflas posadas ahondan en el dolory el enorme precio que todos pagamos por el racismo que germina a todo lo ancho de esta sociedad.

Su seleccion de estrategias es brillante. Utilizando el folflore, en especial chistes, proverbios y versos, y objetos tales y como las muhecas sambo y otros signos de estereotipos degradantes, Weems impone una confrontacion con las creencias semiconscientes de raza y sexo que todos arrastramos y rehuimos en nuestras vidas. Ella, por supuesto, como mujer africanoamericana que es, podrla no lidiar con esas creencias, podrla obviarlas en su arte, pero no solo decide que si sino que las convierte en un tema capital. Ya sea en esta portafolio, explora y explota estereotipos sobre la sexualidad y papeles correspondientes entre africanoamericanos, demostrando asl que es posible crear imagenes que brotan de la cultura propia y que resuenan visualmente.

La obra de estos tres artistas, comprometidos y creadores, nos enriquece a todos y nos recuerda posibilidades inherentes a la fotografla. Una de las di­ mensions de este arte que en verdad nos seduce son susposibilidades democraticas. Esfacil entusiasmarse con este medio, y aunque exige dedicacion y disciplina. Los que tienen talento pueden valerse de ello para expresar sus pensamientos, sentimientos, esperanzas, y pueden incluso contribuir a lo que conocemos del mundo. Estos artistas demuestran que la materia del arte esta a nuestro alrededor, y esta en nosotros.

n algun momento u otro la mayorla de los ar­ tistas sucumbe a la nocion romantica de que lo exotico, incluso las experiences llmites, son necesarias para las musas. Es diflcil ensenarle a estudiantes de arte que su mejor trabajo emergera de sus propias vidas y experiences. Los estudiantes de fotogra­ fla son los mas reacios a este concepto. Luego de ver Under Fire, Blow Up, Salvador, The Eyes of Laura Mars y The Year of Living Dangerously, confunden las vidas de unos cuantos fotoperiodistas y fotografos de moda con el mundo de la fotografla. Por eso es para ml un placer estudiar los tres portafolios de este numero y poder compartirlos con los demas.

Rafael Ramirez Aviles escribio: “Yo no viajo mucho para mis fotograflas. Suelen suceder a poca distancia de mi casa. En la comodidadde mi ambiente mas familiar busco aquello que me hace mirar dos veces, algo especial que me llama la atencion sin analizar. ” Lo que llamo su atencion era lo que le estaba sucediendo a su vecindario, Puerto Nuevo. Elpaisaje iba cambendo ano tras ano hasta que de repente cayo en cuenta de que se iba tomando en un lugar distinto — y quizds, de hecho, no serla un major lugar. Sus fotograflas nos hablan de cambios, de crecimiento, destruccion, renacer y muerte. Lo viejo cede ante lo nuevo y lo modemo ahoga lo tradicional. La tension entre la amenazante urbanizacion y los indicios del vigor tropical de la naturaleza contlnuamente estalla dentro del marco de las fotos, y evidencia una recia disciplina formal. Pero su obra nos recuerda que en Puerto Rico el hombre quizds no lleva la voz cantante.

Las imagenes de Hector M. Mendez Caratini tratan asimismo del cambio. Como escribio una vez: “Mi camara aspira preserver realidades deterioradas por el fluir del tiempo y la historia. Ante el apresurado y arrollador avance del progreso, algunas de las formativas raices son transformadas, mientras otras se esfuman, se desboronan y sucumben.” Estos trabajos son una reproduccion de un hermoso porta­ folio de impresiones de platino que titulo Martires.

El proyecto comenzo por un rumbo imprevisto, como suele suceder con proyectos serios. Mendez Caratini se disponla a fotografiar temprano por la mahana un “clasico lago con neblina. ” Miro el sueloy vio un sapo que habla sido despachurrado por un carro; quedo fascinado no solo con su forma sino tambien con sugerencias metaforicas. Se llevo el tejido a la casa para secarlo, para pensarlo mejor y, en ultima instancia, fotografiarlo. A traves de los proximos siete anos busco y guardo sinnumero de objetos organicos que le intrigaron. Todos pasaron a ser sus sujetosy companeros, recuerdos de lofragil de la vida y la podredumbre inevitable. A medida que crecia el

Mel Rosenthal

Mel Rosenthal es fotografo, maestro y escritor. Curbstone Press publicara el ano proximo su libro de fotograflas del Sur del Bronx, The South Bronx of America. Es el director delprograma fotografico en Empire State college en Nueva York.

33

SUPPORT THIS UNIQUE PUBLICATION Nueva Luz Subscription 4 Issues $12 SUBSCRIBE!

Nueva Luz a photographicjournal

4 Issues: $12.00, all other coun­ tries, yearly subscription: $18.00.

Institutional subscription: $30.00.

MR/MS ADDRESS

APT. NO.

CITY/STATE/ZIP Send check or money order to: Nueva Luz 32 E. kingsbridge Road Bronx, New York 10468 Nueva Luz is a publication of En Foco, Inc.

Nueva Luz a photographic journal 32 EAST KINGSBRIDGE ROAD BRONX, NEW YORK 10468 (212) 584-7718

BULK RATE US. POSTAGE

PAID Bronx, N. Y. Permit No. 806