Nueva Luz Vol 5 Issue 2 by En Foco, Inc.

WUEYA L U Z

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74470 92723

NUEVA LUZ Volume 5 No. 1

plfolo^rapljic journal

Editor Charles Biasiny-Rivera

Intern Kambria Hinze

Associate Editor Betty Wilde

Translator David Fontanez

Managing Editor Miriam Romais Production Assistant Lisa Ventry Art Director Frank Gimpaya

Proofreader (Spanish) Melina Yanez Distributors Ubiquity Distributors, Inc. Bernhard DeBoer, Inc. Desert Moon Periodicals Printing Expedi Press

Nueva Luz (ISSN 0887-5855) is a photographic journal published by En Foco, Inc., a not-for-profit national visual arts organization founded in 1974 to produce exhibitions, publications and events which sup port photographers of Latino, African American, Asian American, Pacific Islander and Native American heritage. En Foco’s programs include the Nueva Luz photographic journal, Critical Mass newsletter, Exhibitions, an annual New Works Award competition, a Permanent Collection, the Photographers Slide Registry, the Print Collectors’ Program and Portfolio Reviews. Individual Membership is $25.00 and includes three issues of Nueva Luz, a Slide Registry application and a Portfolio Review. International Subscriptions to Canada and Mexico are $35.00, other countries $40.00. Institutional Subscriptions are $50.00, $55.00 for Canada and Mexico, $60.00 for other countries. Supporting Memberships are $250.00 and include the above in addition to a catalogue and poster from a major En Foco exhibition. For advertising rates and distribution contact En Foco, Inc. Photographers wishing to submit work must be current En Foco members and should send portfolios of at least 15 unmounted prints or slides for consideration. If mailed, the prints must be no larger than 11x14”. A self-addressed stamped envelope and appropriate packaging must accompany all mailed portfolios to ensure proper return. En Foco does not assume liability for any photographs sent by mail. Photographers wishing to deliver portfolios in person must call our office to make arrangements. Copyright © 1998 by En Foco, Inc. (ISSN 0887-5855) 32 East Kingsbridge Road, Bronx, NY 10468 • (718) 584-7718 • EnFocoInc@aol.com All Rights Reserved Nueva Luz is made possible through a major grant from the National Endowment for the Arts and fund ing by the New York City Department of Cultural Affairs in cooperation with Bronx Borough President Fernando Ferrer, the DCA Cultural Challenge Grant, the Regional Arts Partnership Program of the Bronx Council on the Arts/New York State Council on the Arts, The Association of Hispanic Arts/Joyce Mertz-Gilmore Foundation, Ilford Photo, and En Foco members and friends.

Editorial Page Jack Delano August 1,1914 - August 13,1997

ear Jack, I’m really sorry to hear that you’re gone, I’ll be going to Puerto Rico with my family in a few weeks and I’m going to miss seeing those cheerful, pale perceptive eyes of yours and that great handshake that would glove my hand and make me feel like it was my father welcoming me home from the army. I’ll miss those lunches at that hamburger joint in Puerta de Tierra.... “Best burgers on the island,” you’d say, even though they had the slightest taste of Adobo, you were right. I often think about all those conversations we had; you never spoke badly about anyone or the problems that the island was having with drugs, crime and AIDS. Every time I brought up how conditions seem to be worsening in Satrjuan, you would remind me that at least peo ple weren’t hungry anymore and that the only people going bare foot now were the tourists on the Condado. Even in your book Puerto Rico Mio, where you paired your FSA photographs of the 40s with those from forty years later, you choose not to emphasize the obvious but stayed close to the kindness and warmth of the culture. When you gave those talks at En Foco’s Intercambio photography seminars at the University of the Sacred Heart in Santurce, I was always struck by the entranced attention of the young photographers as you spoke of the Puerto Rico of the early 40s and the experiences that you and Irene shared. Not only were they learning first hand about that period of terrible hardships, of poverty and rampant malaria, but also of the strength and integrity of the family, of the love for the country and the land. When you spoke of the people in your photographs you always used their names... Dona Fulana... Don Pedro; they were real peo ple, not just a subject in your photographs. I wish I had told you how much I admired your com passion, honesty and generosity, but you’d probably make light of it and order another burger. Even though your talent extended to music, film, graphic design and of course photography, you never bought into the marketing of your work. I think that you said it best in your book: “To enrich the human spirit in some measure seems to me to be the purpose of all art. If any of our work comes close to doing that for anyone, anywhere, anytime, then I am more than satisfied. I know that Irene would be too.” I’ll miss you Jack, and the love with which you photographed us. Un Abrazo, Charles Biasiny-Rivera, Editor

uerido Jack, En verdad siento mucho haberme enterado que te has ido. Dentro de unas semanas voy para Puerto Rico con mi familia y voy a extrafiar ver esos ojos tuyos tan alegres, palidos y perceptivos, y ese gran apreton de manos que me cubria toda la mano y mehacia sentir como si fuera mi padre ddndome la bienvenida a la casa del ejercito. Extrano aquellos almuezos en aquel puesto de hamburguesas en Puerta de Tierra... Decias que eran “las mejores hamburguesas de la isla,” y aunque no tenian el menor sabor a adobo, tenias razdn. A menudo pienso en todas esas conversaciones que tuvimos; nunca hablaste mal de nadie, ni de los problemas que la isla estaba teniendo con las drogas, el crime y el SIDA. Cada vez que yo hablaba de como las cosas pareci'an empeorar en San Juan, me recordabas que ya la gente no pasaba hambre y que los unicos que andaban descalzos eran los turistas en el Condado. Alin en tu libro Puerto Rico Mio, donde emparejaste tus fotografias de la FSA de los anos 40 con las de 40 afios mas tarde, escogiste no enfatizar en lo obvio, sino que tequedaste cerca de la amabilidad y la calidez de la cultura. Cuando diste aquellas charlas en los Seminarios de Intercambio de En Foco sobre fotografia, siempre me impresiono la atencidn en extasis de los jovenes fotografos mientras hablabas del Puerto Rico de principios de la decada de los 40 y las experi ences que tu e Irene compartieron. No solamente estaban aprendiendo directamente sobre ese periodo de terribles dificultades, de pobreza y de malaria rampante, pero tambien de la fortaleza y la integridad de la familia, del amor por el pais y por la tierra. Cuando hablabas de la gente en tus fotografias, siempre usabas sus nombres... Dona Fulana, Don Pedro; eran verdaderas personas, no solo un sujeto en tus fotografias. Ojala te hubiera dicho cuanto admire tu compasidn, tu honestidad y generosidad, pero probablemente no le hubieras hecho caso y hubieras ordenado otra hamburguesa. Aunque tu talento se extendio a la musica, el cine, el disefio grdfico y por supuesto la fotografia, nunca mercadeaste tu obra. Creo que lo dijiste de la mejor forma en tu libro: Me parece que el proposito de todas las formas de arte es enriquecer el espiritu humano en alguna medida. Si algunas de nuestras obras se acerca a hacer eso para cualquiera, en cualquier lugar, a cualquier hora, entonces estoy mas que satisfecho. Se que Irene lo estaria tambien. Te voy a extrafiar Jack y al amor con que nos fotografiaste. Un abrazo, Charles Biasiny-Rivera, Editor

Betty Wilde, En Foco Associate Director, and Jack Delano. Photo by Charles Biasiny- Rivera

Table

of Contents

Editorial .......................................... Adal .................................................. Don Gregorio Antdn ..................... Annu Matthew................................. Commentary by Andy Grundberg Comentario .................................... Critical Mass “ Newsletter ................ En Foco Print Collector 's Program

page 1 page 2-11 page 12-21 page 22-31 page 32 page 33 page 34-36 page 37

Cover photograph: Don Gregorio Antdn, El Suenos de Ojos (The Dreams of Eyes). Gelatin silver print, 81/2x8 1/2".

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Adal began his formal studies in photography at the Los Angeles Art Center College of Design, and received a Bachelor of Arts from the San Francisco Art Institute. In 1975, he founded the Foto Gallery in New York City with Alex Coleman, acting as Co-Director from 1975-80 and 1991-92. He has authored several books including Mango Mambo (llustres Studios, 1987) and Portraits of the Puerto Rican Experience (1PRUS Institute, 1984). Addis work was exhibited at the Musee de la Photographie a Charleroi, Belgium (1997) in a 10th Anniversary Exhibition with Andy Warhol, Cindy Sherman and others. Recent exhibits include American Voices: Latino Photographers in the U.S. at the Smithsonian Institute in Washington, DC and Island Journey, an En Foco exhibit at the Hostos Art Gallery (Bronx, NY), the Queens Museum of Art (Flushing, NY) and the Union Art Gallery at the University of Wisconsin in Madison, Wisconsin. He has had solo exhi bitions at El Museo del Barrio (NYC), the Wilmer Jennings Gallery (NYC), the Latino Cultural Center at Rutgers University (New Brunswick, NJ) and the Museum of Modern Art of Latin America (Washington, DC). He is currently working as Creator/Artistic Director on 1999-Salsaleo: A Multi-Media Salsa Festival, in collaboration with El Museo del Barrio, Lincoln Center Film Society, Symphony Space, Cooper Union and Hostos Center for the Arts and Culture, and he currently teaches photography at the University of Texas in San Antonio.

“Photography lends itself to reproduction, and reproduction lends itself to dissemination. And as an artist, I think my main project is to educate people...I think an artist has two roles, to celebrate the beauty of life and to correct chaos in the world. He or she can play either or both. I guess I alternate.”

All images are from the Auto-Portrait series, gelatin silver prints, 16x16”.

Autobiographical Art, 1994

Adal

Transitory Pleasures, 1995

Un Safe Mambo, 1996

Satiric Mambo Dancer (Dedicated to Tito Puente &. Andre Kertesz), 1994

Nuyorican Weather Vain, 1995

Conceptual Jibaro Art, 1990

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Spanglish 101: El Lipstick, 1989

When Governments Engage in Cereal Murder, 1997

Don Gregorio Anton

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Don Gregorio Anton is a Professor of Photography at Humboldt State University in Areata, California. He grew up in East Los Angeles, CA, and received a Master of Fine Arts from San Francisco State University. He has had numerous solo exhibitions, including the Meridian Gallery in San Francisco, Galeria Posada (Sacramento, CA), the Los Angeles Photo Center (Los Angeles, CA) and the Hostos Art Gallery (Bronx, NY). His group exhibitions are equally numerous, and include the the Humboldt Arts Council in Eureka, the San Francisco State University in California, the Fifth Biennial FotoFest (Houston, TX) and the University of Science and Technology (Ghana, West Africa). He has also exhibited in American Voices, Latino Photography in the U.S. at the Smithsonian International Gallery (Washington, DC), which will be traveling throughout the U.S. until the year 2000. Anton has been awarded the Western States Art Federation/National Endowment of the Arts Regional Fellowship for Photography in 1993 and the Loiser Feitelson/Helen Lundenburg Grant in 1984.

“These are silent words, a mystery we all become, my origins in thought, my time, when meaning refines pur pose, purpose uncovers need and need calls my name...These things have their own meaning, their own unique velocity in the realm of questions, the changing form, circling from within. They adhere to the contours of my soul and evoke my balance upon the surface of things. It is here where my movements are measured, where I relearn the nature of hope. In the course of such things, it is memory that teaches me what reality cannot, instinctively moving me towards what I most need to understand. The photographs are evidence of this. The truth I have learned from them. It is when I cease to see the image that I know I have come close to what I truly want to say.”

All images are gelatin silver prints, 1985-1998,10 x 10”

Don Gregorio Anton

Las Reglas de Tragedia/The Rules of Tragedy

Don Gregorio Anton

Diga Mi/Tell Me

Don Gregorio Anton

Cada Cabeza es un Mundo/Each Head is One World

Don Gregorio Anton

Tu Forma/Your Form

Don Gregorio Anton

Vasijas de Llantos/Containers of Tears

Don Gregorio Anton

Y Me Das El Ejemplo/And You Teach Me

Don Gregorio Anton

Por Ti Sere/For You I Will Be

Don Gregorio Anton

Ma Timomauhti/May You Not Be Frightened

Don Gregorio Anton

Suefio de Suefios/ Dream of Dreams

Annu Matthew

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Annu Matthew received a Master of Fine Arts from the University of Delaware in 1997 and currently lives in Pennsylvania. Her work was been widely exhibited throughout the United States and internationally at the Center for Photography as an Art Form (Bombay, India), the Recontres Internationales de la Photographie d'Arles (France), and the Watershed Gallery (Bristol, UK). In 1997, she was awarded the Joseph and Rose Artistof-Color Fellowship at the Anderson Ranch Arts Center in Colorado and the 1997 New Works Award Fellowship from En Foco, Inc. She has been an instructor at the International Center of Photography (NYC), the Maine Photographic Workshops (Rockport, MA) and the Peters Valley Craft Center (Layton, NJ). Her cur rent residency is at the Anderson Ranch in Colorado and in May-June of 1998 at the Eklisia Art Center in Gumuslek, Turkey.

“Being born in Britain, raised in India and now living in America, my mixed or masala’ background con tinually shapes my photographs. My images are participatory interpretations of my life as an Asian-Indian woman living in a diaspora. Through my work, I explore the enigma of my cultural heritage and try to embrace the American culture that 1 have chosen to make my future in. In presenting the images created in America, I border the black-and-white photographs with Indian fabric. I am combining the two by using the computer. The fabrics that I brought with me are remnants of my culture that 1 use to hold on to my roots. The fabric of memory is a garment that I can put on and take off to remind myself of my identity."

All photographs are Iris prints, 6x6".

Annu Matthew

Neck, Living in a Diaspora series, 1997

Annu Matthew

Anklet, Living in a Diaspora series, 1996

Annu Matthew

Anklet, New Jersey, Finding India in America series, 1995

Annu Matthew

Elephant Shadow, Pennsylvania, Finding India in America series, 1997

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Dancer, New Jersey, Finding India in America series, 1995

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Bangles, New Jersey, Finding India in America series, 1995

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Feet, Living in a Diaspora series, 1997

Annu Matthew

Boy in Smoke, Memories of India series, 1997

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Tree, Memories of India series, 1997

commentary of cultural and individual identity) through photography. While the intentions of these photographers may superficially have something to do with the Victorian sensibility, which mytholo gized a pre-industrial past, and perhaps something to do with the Pictorialist sensibility of self-display and self-invention, I would argue that in important ways they are quite different.

he urge to theatricalize one's experience of the world via the medium of photography has been with us since at least the Victorian era, when the likes of Lewis Carroll, Julia Margaret Cameron and Clementina, Lady Hawarden, made souped-up portraits of their children, friends and friends' children in the names of truth, beauty and art. Henry Peach Robinson and Oscar Rejlander went a step further, arranging tableaux vivants in their studios or, when their ideas were too complex for a single exposure, fabricating seamless montages from several

There is support for this notion of difference in the artists' own statements. Annu Matthew writes that her mysteri ous, evocative pictures are "participatory interpretations of my life as an Asian-lndian woman living in a diaspora." Adal, who spent his childhood in Puerto Rico, works in the context of "Caribbean magic surrealism." Don Antdn speaks in favor of an intuitive approach in which images reveal "my origins in thought, my time." Magic, a sense of meaning that transcends the rational

negatives. Such self-conscious manipulation of experience has not always been met with whole-hearted approval. F. Holland Day, a Bostonian esthete of the turn-of-the-century, Pictorialist era, searching for an identity that would resist both the penetrating factuality of photography and the narrative confines of history, chose to cast himself as Christ, a role that required him to don a loincloth and tether himself to a cross in a fair approximation of a crucifixion. This putative career move brought down the wrath of a Puritan public in much the same knee-jerk manner that Andres Serrano's Piss Christ would prompt at the end of this cen tury. Others pointed out that, religious considerations aside, Day's homegrown imagistic fantasies were sentimental, and therefore bad, art.

and the readily visible, inheres in all their work. So does a sense of photography as an instrument of discovery that mediates between the determinism of culture and the possibility of manipulating the personal. In A dal's pictures, selfhood is not so much asserted as assumed; what seems at issue is the ways in which (and the extent to which) culture confounds identity. The black-tie formality of the protagonist is undone by the punning quality of the acces sories: do you like me, or is that a banana on your lip? In Matthew's case, the attention goes to the limbs, not the face, and to the washes of light that seem to transport us to another, extra ordinary place. The borders circumscribe the images, reminding us that photography is a form of representation designed to European specifications. Antdn's strapped and arching figures seem enraptured by possibility, but they are also confined, hemmed in, held to account for their own lives as specimens. All three artists speak to the limitations of self expression outside of a cultural context.

Day's sense of persecution probably had less to do with feeling like Christ than it did with being homosexual at a time when there was no shortage of full closets; however, his use of pho tography to create a theatrical drama of the self was not unique. Other Pictorialists, including Edward (then self-styled Eduard) Steichen and Anne Brigman, saw themselves as mutable subjects for the camera. Steichen photographed himself as a painter, com plete with palette, which allowed his self-portrait to wear the smock of art. Brigman went for the natural look, doffing her clothes and wrapping herself around weathered trees in the California wilderness.

Their concerns are contextualized within a larger field of contemporary practice that seeks to assuage the insistent late-

Many of these early efforts at self-dramatization seem acutely embarrassing today, serving less as precedents for the likes of Cindy Sherman than as cautionary tales that suggest that wearing one's heart on one's sleeve often results in a gooey sleeve and little else. Nonetheless, the artists gathered here - Don Gregorio Antdn, Adal and Annu Palakunathu Matthew - are representative of a number of photographers who, in the last twenty years, have chosen to address more contemporary identi ty issues (which is to say, most often, the complicated intersection

century belief that all our experience is created by images and therefore limited to stereotypes and signs not of our own making. In this regard, the so-called multicultural artists of our time have a great advantage insofar as they intimately know the cracks and fissures in the domain of the stereotypes imposed upon them, and insofar as they know how to exploit and frustrate all attempts to limit meaning to predefined sets or categories. As a result, one might predict that the future agenda of contemporary art will be written not at its current center, but at the margins.

Andy Qrundberg is an art critic, curator and teacher who has written extensively on photography for The New York Times and other publications. He is a former director of The Friends of Photography in San Francisco, California.

comentario cialmente tengan algo quevercon la sensibilidad victoriana, la cual daba un sentido mitico a un pasado preindustrial, y quizds algo que ver con la sensibilidad pictorica de auto-exhibicidn y auto-invencidn, yo discutiria que en modos importantes son bas-

I deseo de teatralizar nuestra experiencia del mundo a traves de la fotografia ha estado con nosotros desde por lo menos la era Victoriana, cuando los gustos de Lewis Carroll, Julia Margaret Cameron y Clementina, Lady Hawarden, hicieron potentes retratos de sus hijos, amigos y los amigos de sus hijos en nombre de la verdad, la belleza y el arte. Henry Peach Robinson y Oscar Reijlander fue un paso mas alia arreglando cuadros vivos en sus estudios, o cuando sus ideas eran demasiado complejas para una sola exposicion , fabricando montajes sincostura de varios negativos. Esa manipulacion timida de la experiencia no ha sido siempre acogida con incondicional aprobacidn. F. Holland Day, un esteta bostoniano de la era pictdrica de principios de siglo, buscando una identidad que resistiria la penetrante objetividad de la fotografia y los confines narrativos de la historia, optopor proyectarse como Cristo, papel que le requirid vestirse de taparrabo y amarrarse auna cruz en una justa aproximacidn a una crucifixidn. Esta supuesta movidade su carrera encendid la furia de un publico puritano del mismo modo dereflejorotuliano que Piss Christ de Andres Serrano incitaria a fines de este siglo.

tante diferentes. Hay apoyo para esta nocidn de la diferencia entre las propias exposiciones de los artistas. Annu Matthew escribe que sus misteriosas y evocativas fotografias son “interpretaciones par ticipator's de mi experiencia como mujer indo-asiatica viviendo en la diaspora." A dal, quien paso su nifiez en Puerto Rico, trabaja en el contexto del “surrealismo magico caribeno.” Don Anton habla a favor de un alcance intuitivo en el cual las imdgenes revelan “mis origenes en el pensamiento,mi epoca." La magia, un sentido de significado que trasciende lo racional y lo fdcilmente visible, es inherente en toda su obra. Asi tambien un sentido de fotografia como instrumento de descubrimiento que media entre el determinismo de la cultura y la posibilidad de manipular lo personal. En lasfotos de Adal, la individualidad no esta tan afirmada como asumida;lo que parece estar en discusidn son las for mas en las cuales (y al punto que) la cultura confunde la identi dad. La formalidad de etiqueta del protagonista se deshace por

otros sefialaron que, aparte de las consideraciones religiosas, las fantasias de su propia imaginacidn eran sentimentales y, por lo tanto, mal arte. El sentido de persecusion de Day tenia probablemente menos que ver el sentirse como Cristo que con el ser homosexual, en una epoca en que no habia escasez de gente en el closet; sin embargo, su uso de la fotografia para crear un drama teatral de la personalidad no era unico. Otros Pictdricos, incluyendo a Edward (enaquel entonces el supuesto Eduard) Steichen y Anne Brigman, se vieron a si mismos como sujetos inconstantes para la camara, Steichen se fotografio a simismo como pintor, con todo y paleta, lo cual permitid a su autorretrato usar el guardapolvo del arte. Brigman se fue por el aspecto natural, quitandose la ropa y envolviendose entre drboles desgastados en la naturaleza salvaje de California. Muchos de estos esfuerzos pioneros a la auto dramatizacion parecen agudamente vergonzoso hoy, sirviendo menos como precedentes para losgustos de Cindy Sherman, que como cuentos aleccionadores que sugieren que usar el corazdn en una manga a menudo resulta en una pegajosa manga y nada mds. Sin embargo, los artistas reunidos aqui - Don Gregorio Anton, Adal y Annu Palakunathu Matthew - son representativos de un numero de fotografos que, en los ultimos veinte afios, han escogido dirigirse a temas de una identidad mds contempordnea (lo cual es para decir, mds a menudo, la complicada interseccidn de la identidad cultural e individual) mediante la fotografia. Mientras las intenciones de estos fotdgrafos puede que superfi-

la calidad del juego de accesorios: [te agrado, o es eso un guineo en tu labio? En el caso de Matthew, la atencidn va a los miembros, no la cara, y a las estelas de luz que parecen transportarnos a otro, extraordinario lugar. Las fronteras circunscriben las imdgenes, recorddndonos que la fotografia es una forma de representacion disenada para las especificaciones europeas. Las figuras arqueadas y entrelazadas de Anton parecen extasiadas por la posibilidad, pero tambien estan confinadas, encerradas, responsables de sus propias vidas como especimenes. Los tres artistas hablan de las limitaciones de la autoexpresion fuera del contexto cultural. Las preocupaciones se contextualizan dentro de un campo mayor de practica contempordnea que busca satisfacer la insistente creencia de fin de siglo que toda nuestra experiencia es creada por imagenes y por lo tanto limitadas a estereotipos y senales que no son de nuestra creacidn. En este respecto,los llamados artistas multiculturales de nuestro tiempo tienen una gran ventaja encuanto a que conocen intimamente las rupturas y fisuras en el dominio de los estereotipos impuestos sobre ellos, y en cuanto a que saben como explotar y frustrar todos los intentos de limitar el significado a grupos o categorias predefinidos. Como resultado, se podria predecir que la agenda futura del arte contempordneo se escribira, no en su centro actual, pero en los margenes.

Andy Qrundberg es un critico de arte, curador y maestro que ha escrito extensamente sobre fotografia para The New York Times y otras publicaciones. Es el ex-director de Friends of Photography en San Francisco.

Winter 1997-98 Volume 15 No. 1

A Leading Resource for Photographers

THE 1997 NEW WORKS AWARDS This year En Foco’s competition to create new works brought together the talent ed works of four photographers from all over the country: Pipo currently resides in Oregon, Daniel Salazar in Colorado, Rudy Ornelas in Texas and Annu Matthew in Pennsylvania. The purpose of this award is to provide a context and support for photographers of African, Asian, Native American and Latino heritage which is based on the photog rapher’s own cultural experiences. Funded by the National Endowment for the Arts and the Heathcote Art Foundation, photographers received a

stipend, photographic supplies by Ilford Photo, technical assistance and portfolio reviews, Annu Matthew, whose work is featured in the preceding pages, was selected to develop her series about “displacement” from i her Indian culture. Her images convey a sense of loss and memory through a mixture of images from India and the Indian communities she has found here in America, She states that “in presenting the images of Indians in America, I border the black and white photographs with Indian fabric. The fabrics that I brought with me are | remnants of my culture that I use to hold on to my roots. The fabric is a garment that I can

put on and take off to remind myself of my identity.” Rodolfo Ornelas, originally attracted to the detailed airbrushed and hand painted Chicano art that was placed on cars, began his Lowriders series in Texas. His inquiry progressed to an indepth documentary including environmental portraits, events and family rituals that revolve around the proud display, mainteI nance, customization and renovation of these antiques. Ornelas states that his goal is to “highlight a family tradition that has been and will be around for some time to come.” Pipo’s series, Assimulation, is a tragic comedy that deals with issues of race.

sex and gender, in order to focus on the cultural forms of assimilation he has experienced. Bom in Vietnam, Pipo came to the U.S. as a refugee from the war. In his work, he conveys the experience of this dislocation and imagines “where the vanishing parts of my past have gone. Death and the identity of the shattered ‘self’ are themes central to my work. For years I have mourned the loss of my birthplace, the separation from my family... however in many respects I have now become almost completely westernized.” Presented through large black and white photographs, his work draws upon the traditional forms of Asian theater. He combines elements of costumes, gesture and make-up with the classical forms and subjects of Western painting. Daniel Salazar has been documenting the Sociedad Proteccion Mutua de Trahajadores Unidos (the Society for the Mutual Protection of the United Workers, est. 1900) for the past five years. SPMDTU is a society originally created to “protect a group of workers united against the threat of a for eign invader armed with the English language and the backing of U.S. courts.” Specifically, it refers to the displacement of Mexican citizens when their border was moved 1,000 miles south, forcing them to be chased out of “new” Texas, New Mexico and Southern Colorado — the very land their ancestors had settled generations earlier. Salazar’s moving portraits, still lives, interiors and concilios with the accompanying text, speak of this ancient brotherhood and its roots during the Mexican American War. Its mission today is based upon cultural awareness and preservation. Salazar, a Chicano photographer, is also the Associate Director of the Colorado Council for the Arts in Denver.

National Endowment for the Arts, New York State Council on the Arts, En Foco will have its own web page, to be inaugurated this Spring! It will feature excerpts from Nueva Luz, Critical Mass, the Permanent Collection, and an exciting new Electronic Gallery. Although the En Foco portion is cur rently under construction, look into the other features of this wonderful site. It includes A.D. Coleman’s newsletter C: the Speed of Light as well as a wide selection of his writings, new essays, current activities and upcoming books. Also included is the NY Photography Calendar with lectures, panels and symposia in the tri-state area, and the Prague House of Photography and Artists Talk on Art with their very own site. You can find all this at the following address: http://www.nearbycafe.com

African, Native-American or Latino heritage whose work explores affirming themes emanating from their cultural experiences. For guidelines, send SASE to: En Foco, Inc., Attn: Competition, 32 East Kingsbridge Road, Bronx, NY 10468. 718/584-7718. Enfocoinc@aol.com. Deadline: April 13. 9th Annual Juried Competition (June 2-20). Juror: Lisa Phillips, Curator, Whitney Museum, NYC. Awards: Solo Exhibition, group show, continuous display of several works per artist. Send SASE for prospectus to: Viridian Artists, Inc., 24 West 57th Street, New York, NY 10019. 212/245-2882. Deadline: April 4. Exhibition Opportunities

Winfisky Gallery seeks exhibition proposals for ‘98-’99 season. All media. Submit 20 slides in slide sheet, resume, statement, SASE to: Winfisky Gallery Exhibitions Committee, LETTERS TO THE EDITOR Attn: Richard Lewis, Art Department, Salem We are pleased to present this new State College, 352 Lafayette Street, Salem, section of our publication, with the intention I MA 01970. of opening up a venue for readers to express their opinions. Feel free to drop us a note! Gallery One at the New England School of Photography seeks work for Naked and Nude, We welcome your comments and thoughts, a juried group show July 20-September 11. $10 fee. Send SASE for prospectus to: Attached to this letter is a year’s individual Gallery One, New England School of subscription payment to Nueva Luz. I spoke Photography, 537 Commonwealth Avenue, a couple of weeks ago with a colleague of MA 02215. 617/437-1868. Boston, yours (Miriam) about a meeting I had with you and Frank Gimpaya many, many years Deadline: April 20. ago. Actually, it was a “portfolio review. ” As a matter offact, I never forgot that meeting Attleboro Museum seeks proposals for curat ed group of 2-6 artists for ‘98. Open to all because you and Mr. Gimpaya treated me with utter respect and evaluated my work artists, all media. 30% commission, insur ance. Send SASE, 10 slides of work, with a critical and constructive spirit - comresume/bio, exhibition proposal to: Dore pletely non-judgmental - a tone that has VanDyke, Executive Director, The Attleboro stayed with me all these years. I still photoMuseum, 86 Park Street, Attleboro, MA graph, hoping one day to be as serious and 02703. 508/222-2644. Deadline: Ongoing. dedicated as you and your colleagues. Thank you for setting such a consistent and Camera Club of New York seeks submissions THE DEADLINE FOR THE 1998 soulful example for others. from fine-art or documentary photographers NEW WORKS AWARDS COMPETI- I Paul Torres, Brooklyn, NY for exhibition. Send 20 slides with support TION HAS BEEN EXTENDED UNTIL materials and SASE, or write for more infor APRIL 13. Send us an SASE for the guideEn Foco is a very important part of our Whilden, Exhibitions mation: JoJo lines, or you may request it by fax or email. woM , c0„w„ colmt the numher 0fc0ntriCommittee, Camera Club of New York, 853 Enfocomc@aol.com butions you ’ve made to my world and that of Broadway, 2nd Floor, New York, NY 10003. my students and colleagues. You’ve intro 212/260-7077. duced us to photographers we wouldn’t have THANKS! known existed. You’ve supported the work E3 Gallery/White Light Studio is reviewing and ideas of dozens and dozens of us. slides for Spring exhibition Tattoo. Send Thank you to all the individuals who People in photography loosely toss around made a contribution to En Foco to help us slides, resume and SASE to: Mary Ann the word “community” usually in some way Fahey, E3 Gallery, 47 East 3rd Street, New meet the matching funds for the NYC that is self aggrandizing. You help make a York, NY 10003. 212/982-0882. Deadline: Department of Cultural Affairs’ Challenge community and serve as a model for us all. Grant and the New York State Council on April 15. Mel Rosenthal, Empire State College/SUNY, the Arts’ Challenge Grant. As part of this effort, En Foco has New York City Synchronicity Space Photography is review been concentrating on several projects. The ing portfolios for solo and group exhibitions archiving and conservation of the Permanent for the ‘97-’98 season. Send materials to: ARTIST OPPORTUNITIES Collection has been at the forefront. It Synchronicity Space Photography, 55 Mercer Street, New York, NY 10013. 212/925-9168. includes over 200 works from photographers involved in the past 24 years of En Foco’s Competitions A.I.R. Gallery seeks works by women for its publications and exhibitions. Another exciting project is En Foco 1998 New Works Award. An En Foco compe3rd Biennial Exhibition in December 1998. Online! Through the gracious help of photition to create or continue a new series of Work must be wall-hung and artists must live tography critic A.D. Coleman, and the work. Open to photographers of Asian, in the U.S. Entry fee: $15. For prospectus.

send SASE to: A.I.R. Gallery, 40 Wooster Street, Floor 2, New York, NY 10013, or access the prospectus at www.airnyc.org. Deadline: June 12. The Organization of Independent Artists reviews proposals for exhibition in public places. Must include a minimum of four artists. For guidelines, send SASE to: OIA, 19 Hudson Street, Room 402, New York, NY 10013. 212/219-9213. Deadline: Ongoing. Eastman Gallery seeks emerging artists working in new media, computer, book arts for group and solo shows. 40% commission. Send slides with description and SASE to: Carrie Eastman, Eastman Gallery, 54 Schurman Road, Castleton, NY 12033. 518/477-4959. Deadline: Ongoing. CEPA Gallery seeks photographic and/or dig ital work for its 1998 members and emerging artists exhibition. Participants must be current members of the gallery or must become members. A maximum of two works may be submitted. For information, send an SASE to: CEPA Gallery, 617 Main Street, #201, Buffalo, NY 14203. 716/856-2717. E-mail cepa@aol.com Deadline: May 15. Hallwalls’ Visual Arts Program seeks sub missions for solo and group exhibitions, month-long residencies, and guest-curated exhibitions. Submit up to 20 slides, resume, artist’s statement, proposals if necessary and SASE: Sara Kellner, Visual Arts Director, Hallwalls Contemporary Arts Center, 2495 Main Street, Suite 425, Buffalo, NY 14214. 716/835-7364. E-mail hallwall@tmn.com. Deadline: Ongoing. Sharadin Art Gallery is reviewing proposals for group exhibitions of 3-6 artists. Send a written description of the exhibition, a maxi mum of 40 slides (including dimensions, title and media on each slide), resumes and sup port materials. Send SASE to: Sharadin Art Gallery, Kutztown University, Kutztown, PA 19530-0730. Very Special Arts Gallery seeks proposals from artists/curators for ‘99 season. Concepts must include artists with disabilities or a dis ability focus. Send slides, statement and sup port materials to: Stephanie Moore, Director, Very Special Arts Gallery, 1300 Connecticut NW, Washington, DC 20036. 202/628-0800. E-mail stephnies@vsarts.org. Deadline: Ongoing. Arts in Embassies Program. Artists can loan works for 2-3 years to embassies worldwide. Department of State handles cost of pickup, packaging, shipment, return, insurance. Send resume and slide sheet of works available to: Attn. Mary Hollis Hughes, Art in Embassies Program, U.S. Dept, of State, A/Art, Room B 258, Washington, DC. 20006. 202/647-5723. Artspace. Open to Eastern U.S. artists. Student-run gallery, offers insurance.

Selection committee meets during Fall/Spring semesters. Contact Artspace, Box 701, Newcomb Hall Station, University of Virginia, Charlottesville, VA 22904. 804/9243286. The Clement Gallery is reviewing slides for solo and group exhibitions for the ‘97-’98 and ‘98-’99 seasons. Send 20 slides, state ment, resume and SASE to: Deborah Orloff, Clement Gallery, University of Toledo, Department of Art, Center for Visual Arts, 620 Grove Place, Toledo, OH 43620. Deadline: Ongoing. Artemesia Gallery, a woman’s cooperative, seeks submissions for exhibitions for the ‘97’98 season. Send 15-20 slides, resume and SASE to: Artemesia Gallery, 700 North Carpenter Street, Chicago, IL 60622. Woman Made Gallery. Submit slides, resume, price list and reviews for possible one-person exhibition and/or admission to slide registry. For information, contact: Woman Made Gallery, 4646 North Rockwell, Chicago, IL 60625. 312/588-4317. Current Works 1998 is accepting submissions for an exhibition juried by Jeff Hoone, Director, Light Work. For prospectus send SASE to: Society for Contemporary Photography, POBox 32284, Kansas City, MO 64171. 816/471-2115. Deadline: April 4. Lincoln Center in Colorado seeks artists for group exhibits. Send 10-20 slides, resume, and SASE to: Ellen Martin, Visual Arts Coordinator, Lincoln Center, 417 West Magnolia Street, Fort Collins, CO 80521. Deadline: Ongoing. SF Camerawork seeks exhibition proposals by photographers and curators. Send up to 20 slides, statement, resume, SASE and any sup port materials to: Programming Committee, SF Camerawork, 115 Natoma Street, San Francisco, CA 94105. 415/764-1001. LACPS seeks proposals for projects based in photography, video and new media. Send up to 10 labeled slides (including name, title, date, size, medium and presentation informa tion), resume, statement and SASE to: Exhibitions Committee, Los Angeles Center for Photographic Studies, 6518 Hollywood Boulevard, Los Angeles, CA 90028. 213/466-3203. Deadline: March 30. Blue Sky Photography Gallery is currently reviewing work for show consideration. Send 20 slides and SASE to: Blue Sky Gallery, 1231 NW Hoyt, Portland, OR 97209. 503/225-0210. Deadline: Ongoing. Foto Circle Gallery is reviewing slides for solo and group exhibitions. Send a minimum of 10 slides, artist’s statement, resume and SASE to: Foto Circle Gallery, 163 South Jackson Street, 2nd Floor, Seattle, WA 98104. www.fotocircle.org

Grants/Fellowships Distinguished Artist Award for artists work ing or residing in Minnesota. $40,000 stipend. Written nominations (no fax or email), may include resumes, additional letters of support. Contact: Neal Cuthbert, Arts Program Director, McKnight Distinguished Artist Award, 600 TCF Tower, 121 South Eighth Street, Minneapolis, MN 55402. 612/333-4220. Deadline: March 31. Guadalupe Cultural Arts Center, San Antonio seeks proposals for research project and pos sible exhibition on representation of women in Chicana and Mexicana photography in TX, NM, AZ, CA, and Mexico. Submit slides and artist’s statement to: Natasha Bonilla Martinez, 1411 Shadow Hills Drive, San Marcos, CA 92069. 760/745-7434. E-mail tasha@mailhost2.csusm.edu Job Opportunities Illinois State University offers graduate assistantships in the MFA program in photog raphy. Positions start in August or January. Monthly stipend of $500 plus full tuition waiver. Contact: Rhondal McKinney, Art Department, Campus Box 5620, Illinois State University, Normal, IL 61790. 309/438-8825. University of California, Irvine's Studio Art Department seeks part-time artists/teachers for adjunct faculty positions in 1997-98 acad emic year. Applications should include a description of technical strengths, statement of teaching philosophy and resume. Representations of production are optional. Send to UCI, Stephen Barker, Chair, Studio Art Department, 300 Arts, Irvine, CA 926972775. Residencies Millay Colony for the Arts offers one-month residencies. Artists receive room, board and studio space on a 600-acre estate. The main building is fully accessible to artists with dis abilities. Apply now for June-September res idencies. For an application, send SASE to: Millay Colony for the Arts, P.O. Box 3, East Hill Road, Austerlitz, NY 12017-0003. Light Work Artists in Residence Program open to U.S. and international photogra phers/related media artists. Housing, studio space, $ 1,200 stipend provided for one month residency. Send slides, resume and letter of intent to: Light Work, 316 Waverly Avenue, Syracuse, NY 13244. 315/443-2450. Deadline: Ongoing. Artists’ Residencies for individual artists, or collaborative teams of two to three persons. Residencies last from two weeks to two months. Includes room, board and studios. For an application, send SASE to: The Admissions Committee, YADDO, Box 395, Saratoga Springs, NY 12866.

Camargo Foundation Fellowship Program offers one-semester residencies in Cassis, France. Room, studio, reference library and darkroom are provided. For details, contact: Camargo Foundation, 125 Park Square Court, 400 Sibley Street, St. Paul, MN 55101-1928. 612/290-2237. Peters Vallery Craft Center, located in the Delaware Water Gap National Recreation Area, is seeking accomplished self-employed artists who desire an opportunity to manage a studio while earning a living at their craft in a supportive atmosphere. Residencies are offered for periods of one to four years. For further information, write to Peters Valley Craft Center Opportunities, Go Wild! Residency Programs in the National Parks, P.O.Box 65552, St. Paul, MN 55165. EXHIBITIONS Miwa Yanagi, Ina, Manit Eiji Sriwenichpoom, The Leopold Godowsky Jr. Color Photography Awards. Photographic Resource Center, 602 Commonwealth Avenue, Boston, MA 02215. 617/353-0700. May 1-July 1. Tokihiro Sato, Photographic Works. Leslie Tonkonow. 601 West 26th Street, 12th Floor, NYC 10001. 212/255-8450. February 28April 25.

March 20-May 1. Mariana Cook, Generations of Women. Adelson Galleries, Inc., The Mark Hotel, 25 East 77th Street, Third Floor, NYC 10021. 212/439-6800. March 30-April 24. Carrie Mae Weems and others, Roots and Reeds: The Amazing Grace of the Gullah People, through March 21. Freida Med in and others, Puerto Rican Equation, through May 9. Leubsdorf Art Gallery, Hunter College, 695 Park Avenue, NYC 10021. 212/772-4991. Peter Hujar, Joel Meyrowitz, Milton Greene, Seminal Works. James Danziger Gallery, 851 Madison Avenue, NYC 10021. 212/734-5300. April 2-May 9. Lisa Andrew, Gonzalo Cano, Paul Lashmet, La Caracas: Urban Reflections on a Contemporary Metropolis. Colombian Center Gallery, 140 East 57th Street, NYC 10022. Through March 30. Paul Strand, Circa 1916. Metropolitan Museum of Art, 82nd Street and 5th Avenue, NYC 10028. 212/535-7710. March 10-May 31.

Adal, Sophie Rivera, Frank Gimpaya, Nitza Luna, Frank X. Mendez, Rafael Ramirez, Nestor Millan, Hector Mendez Caratini, Carlos Arnaldo Meyners, Victor Vazquez in Island Journey, an En Foco Exhibition. Wisconsin Union Art Gallery, University of Wisconsin at Madison, Union Puertorriquena, 800 Langdon Street, Madison, WI 53706. 608/262-5131. Through March 11. Charles Biasiny-Rivera, Vicki Ragan, Kathleen Campbell, Spirits and Constructions. A FotoFest exhibition at Sweeney, Coombs, and Fredericks Building, 301 Main Street, Houston, TX 77006. Through March 31. Ximena Berecochea, Maya Goded, Sebastian Rodriguez, and others, Looking at the 90’s - Four Views of Current Mexican Photography. Vine Street Studios, 1113 Vine Street, Houston, TX 77006. 713/529-9140. Through March 31. Keith Carter, Photographs: Twenty-Five Years; A Galveston Sampler. Galveston Arts Center, 2127 Stand, Galveston, TX. 409/7632403. Through April 12.

Martha Cooper and others, A Float for All Seasons: New York’s Ethnic Parades. The Museum of the City of New York, 1220 5th Avenue, NYC, 10029. 212/534-1672. March 21-January 10,1999.

Fernando La Rosa, Hiroshi Sugimoto, Lynn Davis and others. Sea Change: The Seascape in Contemporary Photography, March 6 - May 24. Center for Creative Photography, The University of Arizona, Tucson, AZ 85721-0103. 520/621-7968. http://www.ccp.arizona.edu/ccp.html

Anne Marie Romanczyk, through March 28. John Morse, April 1-30. E3 Gallery/White Light Studio, 47 East 3rd Street, NYC 10003. 212/982-0882.

Morgan and Marvin Smith, Harlem. Schomburg Center for Research in Black Culture, The NY Public Library, 515 Malcom X Boulevard @ 135th Street, NYC 10031. 212/491-2200. Through March 29. http://www.nypl.org

Roy DeCarava, A Retrospective. San Francisco Museum of Modem Art, 151 Third Street, San Francisco, CA 94103. 415/3574000. Through April 14.

Gerald Cyrus, Elaine Tin Nyo and others, Keeping Track of the Joneses. New Museum of Contemporary Art, 583 Broadway, NYC 10012. 212/219-1222. March 19-April 12.

Micha Bar-Am, An Israeli Photography. International Center of Photography, 1130 Fifth Avenue at 94th Street, NYC 10128. 212/860-1777. Through May 31.

Ralph Eugene Meatyard, Master Prints. Howard Greenberg Gallery, 120 Wooster Street, NYC 10012. 212/334-0010. March 12-April 25.

Tomie Arai, Double Happiness. Bronx Museum of the Arts, 1040 Grand Concourse, Bronx, NY 10456. 718/681-6000. April 16August 23.

Susan Unterberg, Water Dreams and DoubleTakes, through April 4. Marion Post Wolcott, The FSA Years. Sabastiao Salgado, Terra. April 9-May 23. Yancey Richardson Gallery, 560 Broadway, NYC 10012. 212/343-1255.

Mel Rosenthal, Refuge: The Newest New Yorkers. Munson-Williams-Proctor Institute, 310 Genessee Street, Utica, NY 13502. 315/797-0000. Through March 29.

The Body in Question: Artists from Australia. Wessel+O’Connor Gallery, 242 West 26th Street, NYC 10001. 212/242-8811. April 9May 10.

Yasu Suzuka, and others. Asia: Contemporary Photography from China, Korea, and Japan. A.O.I. Gallery, 1 Columbus Place, N-29E, NYC 10019. 212/863-3360. Through March 31. Wei Jane Chir, Jackie Chang and others, Site of Asia/Site of Body. Taipei Gallery, McGraw Building, 1221 Avenue of the Americas, NYC 10020. 212/373-1854.

Ricardo Armas, Marisela LaGrave, Sandro Oramas and others, Ten Contemporary Venezuelan Photographers. Zollner Arts Center, Lehigh University, 420 East Packer Avenue, Bethlehem, PA 18015. 610/758-3615. March 11-May 24. Joan Demoss, Muriel Hasbun and Robert Revere. Say the Word: Photography and Text. Rosslyn Spectrum Gallery, 1611 North Kent Street, Arlington, VA 22209. 703/228-6960. Through May 17.

Chester Higgins, Feeling the Spirit: Searching the World for the People of Africa. Museum of Photographic Arts, 1649 El Parado, San Diego, CA 92101. 619/2387559. Through April 14. Mariko Mori, Joseph Santaromanna, The Unreal Person: Portraiture in the Digital Age. Huntington Beach Arts Center, 538 Main Street, Huntington Beach, CA 92648. 714/374-1650. April 25-June 14. Brad Cole, The Last Dream. Center for the Photographic Art, San Carlos at 9th Avenue, Carmel, CA 93921. 408/625-5181. Through April 24. Robert Dawson, Farewell Promised Land: How Paradise Lost, through April 25. Gordon Smith, Kentucky Coal Country: The Crisis Continues. Naomi Ben-Shahar, John Pfahl and others. Feed, May 1-June 13. SF Camerawork, 115 Natoma Street, San Francisco, CA 94105. 415/764-1063. We Shall Overcome: Photographs from the American Civil Rights Era. San Jose Museum of Art, 110 South Market Street, San Jose, CA

95113. 408/294-2787. Through May 31. EVENTS/WORKSHOPS Renee Cox, Porch Talkin ’ with Tish Benson. 4pm, March 21. Gerald Cyrus, Artist’s Talk, 4pm, March 29. New Museum of Contemporary Art, 583 Broadway, NYC 10012.212/219-1222. Women in Photography Workshop, sessions held by various women photographers artists including Kunie Sugiura, Abigail Heyman and Sally Gall. For schedule and informa tion, contact Mel Rosenthal, Empire State College/SUNY, 225 Varick Street, NYC 10014. 212/647-7853. Women’s Studio Workshop’s Summer Art Institute offers week-long and weekend workshops in printmaking, papermaking, book arts, letterpress, photography, fiber arts and other traditional media. For catalogue, write WSW, P.O. Box 489, Rosendale, NY 12472. 914/658-9133.

Marie Walsh Sharpe Art Foundation offers 14 free studio spaces in Lower Manhattan. Studios are available from September 1, 1998 for up to one year. Send 8 slides of recent work, slide list, resume, one-page statement explaining the need for the studio space, and SASE. For more information, contact: The Space Program, Marie Walsh Sharpe Art Foundation, 711 North Tejon Street, Suite B, Colorado Springs, CO 80903. 719/635-3220. Grosvenor Neighborhood House seeks pho tographers to conduct photo projects or work shops for teens, with a focus on documenta tion and/or issues regarding Latino communi ties. Volunteer basis in exchange for dark room use is preferable. Contact Rafael Smith, Grosvenor Neighborhood House, 176 West 105th Street, New York, NY 10025. 212/7498500.

Poder America is looking for Latino photog raphers to conduct 2-6 week workshops in Ossining, NY for 6-8th graders. It is easily accessibly by mass transit, and there is a stipend available. For more information con tact Chris Matias at 212/860-5445. Bronx Printmakers requests proposals from artists/printmakers to apply for participation in a ten week program to be held at the Bronx Museum of the Arts, Thursday evenings from 6-8:30pm, beginning April 16. For guidelines contact: Bronx Printmakers, 32 East Kingsbridge Road, Bronx, NY 10468. Deadline: March 30.

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STUDENT OPPORTUNITIES En Foco reviews applications for internships throughout the year to assist with exhibitions, special projects, marketing and arts adminis tration. Applicant must have an interest in photography, arts and computer knowledge. College credit may be available. Send cover letter with availability, interests and resume to Intern Search, En Foco, Inc., 32 East Kingsbridge Road, Bronx, NY 10468.

Houston Center for Photography

Centerfor Photography at Woodstock intern ships available for Summer 1998. For infor mation, contact the Center for Photography at Woodstock, 59 Tinker Street, Woodstock, NY 12498. 914/679-9957. CEPA internship available during Fall, Spring and Summer semesters at photography arts gallery in Buffalo, NY. CEPA, 617 Main Street, Buffalo, NY 14203. 716/856-2717. MISCELLANEOUS Visual Artist Information Hotline is a toll-free information and referral service for visual artists nationwide, run by the New York Foundation for the Arts. Call Monday through Friday between 2-5pm EST, 800/232-2789. For more about NYFA, see www.artswire.org/Artswire/www/nyfa.html Foundation Center Cooperating Collections provides free funding information throughout the U.S. for foundation and corporate giving. The Foundation Center, 79 Fifth Avenue, New York, NY 10003-3076. 800/424-9836. http://fdncenter.org/library/library.html Change, Inc. emergency fund gives grants to artists. $100-$500 for medical, living or other. For an application, write to: Change, Inc., Box 705, Cooper Station, New York, NY 10276. 212/473-3742.

Get the Picture! Become a Member of HCP today!

Houston Center for Photography 1441 West Alabama Houston, TX 77006 713/529-4755 fax 713/529-9248 e-mail: hcphoto@insync.net website: http://www.mediaplace.com/hcp Photo: Heidi Kumao

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If Your Name Isn't Here En Foco Members and Supporters • Rose Adams • Charles Agel • Laura Aguilar • Max Aguilera-Hellweg • Frank Algarin • Lexine Alpert • Monica Amaris Callenbach • Mark Antman • Rhett Jalane Arens • Carlos Arnaldo-Meyners • ARTbibliographies (England) • Art Institute of Chicago • Adam Artis • Ana Aslan • Seshu Badrinath • Julia Ballerini • Stan Banos • Angela Baptiste • Maria Carina Baquero • Ricardo Barros • Derrill Bazzy • Max Belcher • Victoria Benitez • David Bernstein • Dawoud Bey • Laura Blacklow • Boston Photo Collaborative • Dennis Bradbury • Mel Brez • Bronx Council on the Arts • Brookdale Community College • Robert Buitrdn • Christopher Burns • Millie Burns • Antonia Cabrero-Mendez • Dennis Callwood • Hector Mendez Caratini • Suzie Chambless • Myrna Charry • Chase Manhattan Bank • Angel Chevrestt • Chicago Public Library • Chicano Studies Collection/University of California at Berkeley • Citibank • Kate Cleghorn • Cleveland Museum of Art • Linda Cohen • Cynthia Cole • Robert Coles • Rodolfo Collado • Gillermina Colon • Columbia College • Arturo Le Conte • Claudia Costa Lima • Jaime Costas • Dick Craig • Valdir Cruz • Gerald Cyrus • Joseane Daher (Brazil) • Kenneth Gonzalez Day • Pablo Delano • Rolando Diaz • Double Take Magazine • Judith Doyle • Ellen Dugan • Ryan Eastwood • Sara Echaniz • Sulaiman Ellison • Monica Escalante • Escuela de Artes Plasticas de Puerto Rico • Sharon Farmer • Bronx Borough President Fernando Ferrer • Irene Fertik • Sara Fischer • Robert N. 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We'll Be Happy to Add It For You! En Foco Membership:

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Individual Membership: □ $25 for U.S. & Puerto Rico. □ $35 to Mexico & Canada. □ $45 to other countries. Institutional Subscriptions: □ $50 for U.S. & Puerto Rico. □ $55 for Mexico & Canada. □ $65 for other countries. Supporting Memberships, includes exhibition catalogue and poster: □$ other □ $250 Donation: $

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Phone: E-mail: Send check or money order to: En Foco, Inc. 32 East Kingsbridge Road, Bronx, NY 10468-7513 718/584-7718 • EnFocoInc@aol.com

A percentage of all Memberships and all Donations are tax deductible to the full extent of the law.

New Print Collectors’ Program This year En Foco inaugurates its Print Collectors* Program by offering the special opportunity to purchase signed original photographs that have been donated by internationally recognized artists. This special membership category offers an opportunity to collect works by contemporary photographers of diverse cultures who have been involved with En Foco’s programs since its inception, while supporting your favorite photography organization! Your order includes a beautifully printed and signed original photograph, a bio and artist’s statement, and a complimentary Membership to En Foco (or membership extension for current members). Purchasers of 3 or more prints will also receive a Catalogue and poster from a major En Foco exhibition.

“Dawoud Bey says that to be a photographer, one must be in love with life. And light... Dark and light is a metaphor for life itself; the known and the unknown. His subjects are dwarfed by the impersonal architectural spaces, and they are ‘saved’ by the light that follows them.” Lucy Lippard, Nueva Luz, Vol. 1*2. A Young Woman Waiting for the Bus, Syracuse, NY, 1985 $300 • Signed gelatin silver print, 11 x 14”. To view more of Beys work, order Nueva Luz Vol. 1*2 ($8)

“Carrie Mae Weems’ (b. 1953, Portland, OR) work confronts existential problems that come out of her life as an AfricanAmerican woman. She works at one of the bloody crossroads where art and politics meet. Her staged photos deal deeply with the pain and horrible price we pay for the racism that is so per vasive and all encompassing in this society.” Mel Rosenthal, Nueva Luz, Vol. 2*4. Untitled, from The Kitchen Table series, 1990. $300 • Signed gelatin silver print, 71/2x71/2”. To view more of Weems work, order Nueva Luz Vol. 2*4 ($8)

mm “Sophie Rivera has opened a door of internal reality, believing the notion that photography can only deal with what it is, that it has no consciousness of its own. These photographs allow us to pass through a rare prism that draws us into their unknown parts.” Charles Biasiny-Rivera, Nueva Luz, Vol. 1*1. Blizzard, 1997. $300 • Signed gelatin silver print, 10 1/2 x 10 1/2”. To view more of Rivera’s work, order Nueva Luz Vol. 1*1 ($8)

7*9

1 V i

mm)

TO ORDER, please fill out the form on the back cover and send it with your check or money order to En Foco, Inc. • 32 East Kingsbridge Road, Bronx, NY 10468 • 718/ 584-7718 • Enfocoinc@aol.com These outstanding photographs are being sold below market value for a limited time while supplies last.

NUEVA a

LUZ

Non-Profit Org. U.S. Postage PAID Bronx, NY Permit No. 806

pI)olo£rapI)ic journal

32 East Kingsbridge Road Bronx, New York 10468 718-584-7718

En Foco Membership: Individual Membership, includes 3 issues of Nueva Luz and Critical Mass newsletter, entry in the Slide Registry (for Bronx photographers and photographers of African, Asian, Latino, Native American and Pacific Islander heritage), and mailings of invitations/announcements: • $25 for U.S. & Puerto Rico. • $35 to Mexico & Canada. • $40 to other countries. Institutional Subscriptions: • $50 for U.S. & Puerto Rico. • $55 for Mexico & Canada. • $60 for other countries. Supporting Memberships, also includes free En Foco exhibition catalogue and poster: other • $250 •$ Print Collectors’ Program Membership: •$500 •$300 Print Selection(s):

Name: Address:

Phone: Fax: E-mail: Send check or money order to: En Foco, Inc. 32 East Kingsbridge Road Bronx, NY 10468

A percentage of all Memberships and Donations are tax deductible to the extent allowed by law.