Nueva Luz Vol 7 Issue 1

NUEVA LUZ photographic journal

Volume 7 No. 1 - U.S. $5.00 03>

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74470 92723

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In This Issue: • A Tribute to Kamoin£e, Inc. • NEW Opportunity Listings • A Look towards the Future

NUEVA LUZ

photographic journal

NUEVA LUZ STAFF Publisher & Editor Charles Biasiny-Rivera Associate Editor Betty Wilde

NATIONAL ENDOWMENT FOR THE ARTS

Managing Editor Miriam Romais Production Coordinator Daniel Schmeichler

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Advertising Marisol Diaz Translators David Fontanez Daniel Schmeichler EN FOCO STAFF Executive Director Charles Biasiny-Rivera Managing Director Miriam Romais

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State of the Arts

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NYSCA

Technical Assistant Daniel Schmeichler

Design by Frank Gimpaya

BOARD OF ADVISORS Nadema Agard Millie Burns Ricky Flores Nitza Luna Sandra Perez Sophie Rivera Mel Rosenthal Cheryl Younger DISTRIBUTORS Ubiquity Distributors, Inc. 718/789-3137 Bernhard DeBoer, Inc. 973/667-9300 Desert Moon Periodicals 505/479-6311 Small Changes 206/382-1980

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Nueva Luz (ISSN 0887-5855) is published by En Foco, Inc., a not-for-profit national photographic arts organization founded in 1974 to produce exhibitions, publications and events which support photographers of Latino/a, African, Asian, Pacific Islander and Native American heritage. Please refer to the back cover for membership and subscription costs.

Photographers wishing to submit work are encouraged to view several past issues before submitting portfolios of 20 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 safe return. En Foco does not assume liability for any materials sent by mail.

Copyright © 2001 by En Foco, Inc. (ISSN 0887-5855) All Rights Reserved 32 East Kingsbridge Road, Bronx, NY 10468 • (718) 584-7718 • www.enfoco.org Nueva Luz will make accommodations under ADA guidelines for those needing large print.

Nueva Luz is made possible through a major grant from the National Endowment for the Arts, the Rockefeller Foundation, the New York City Department of Cultural Affairs, the Bronx Borough President Fernando Ferrer/Bronx City Council, and the New York State Council on the Arts.

En Foco is also funded by the New York Foundation for the Arts’ Community Assets and TechTAP, David Rockefeller Jr., the Association of Hispanic Arts/Chase Smarts Grant, Citibank, North Fork Bank, Coca-Cola Bottling Company of New York, Ilford Imaging USA, Lowepro, House of Portfolios and En Foco members and friends.

Editorial

T

e had some really heavy, drenching rains last week. When it finally cleared I took a walk with my dog Nellie through the overgrown grass and weeds that decorate my back yard. I noticed a remarkable pattern of swirls and concentric forms created by the rains and winds. It shimmered from the tiny sparkles where the still wet grass held the remnants of the nights rain.

uvimos un aguacero realmente fuerte la semana pasada. Cuando finalmente despejb fui a dar una caminata con mi perra Nellie a traves de la grama y el monte descuidado que adornan mi jardin. Note un conjunto excepcional de remolinos y patrones concentricos creados por el viento y las lluvias. Relucia desde donde la grama aun mojada guardaba los restos de la lluvia de anoche.

I was about to head in to get my digitcam but remembered my memory card was ill, besides, 1 didn’t want to look at this strange and wonderful thing that surrounded me for the purpose of taking its picture. I wanted to just see it; feeling it was more than what my eyes were telling me.

Estaba a punto de entrar a buscar mi camara digital pero recorde que mi tarjeta de memoria estaba un poco debit. Ademas, yo no queria vivir esta extrana y maravillosa cosa que me rodeaba con el fin de tomar su foto. Queria simplemente ver; sintiendo que era mas de lo que mis ojos me decian.

Well it didn’t happen right away; driving to work the next day, enjoying the quiet of my broken radio, it came to me. I had witnessed a vision of the expanding universe. There was a rush of overwhelm­ ing joy that was immediately liberating. I don’t know about you, but I take my joyful moments quite seri­ ously. It was a profound, ecstatic understanding that I was attached to the entire whole of everything and, just as the universe was expanding, so was I.

Bueno, no sucedib enseguida; pero mientras conducia al trabajo el dia siguiente, disfrutando del silencio de mi radio roto, lo entendi. Habia presenciado una visibn del universo expansivo. Tuve un momento de alegria sobrecogedor que inmediatamente me dio un sentimiento de libertad. No se sobre ustedes, pero yo me tomo mis momentos de alegria seriamente. Comprendi de una manera profunda y extatica que yo esta­ ba conectado a todo y a medida que el universo se expandia, yo me expandia junto a el.

Finding some sign of your actuality and sens­ ing your place in that incredible void that we’re sus­ pended in, is an indication of your sacred conscious­ ness. Our ability to transcend beyond the barriers of measurement and to learn new forms that help to explain our life and destiny is quite possibly the pur­ pose of art.

As creators of images we can be the pathfind­ ers who guide others to their own visions of under­ standing. And all this time I thought I was just taking pictures.

Encontrar alguna muestra de nuestra actualidad y percibir nuestro lugar en este increible vacio en que estamos suspendidos es una indicacibn de nuestra sagrada conciencia. Nuestra capacidad de superar las barreras del jucio y de aprender nuevas formas que ayudan a explicar nuestra vida y destino es muy probablemente el proposito del arte.

Como creadores de imagenes nosotros podemos ser pioneros que guian a otros hacia sus propias visibnes de entendimiento, y todo este tiempo yo pensaba que simplemente estaba tomando fotos.

Charles Biasiny-Rivera Editor

Table of Contents Editorial Anthony Barboza Adger W. Cowans C. Daniel Dawson Louis Draper Albert Fennar James Ray Francis Steve Martin Toni Parks John Pinderhughes Herbert Randall

1 2 4 6 8 10 12 14 16 18 2o

22 24 26 28 30 32 33 34 35 40 41

Herb Robinson Beuford Smith Ming Smith Frank Stewart Shawn Walker Portraits Commentary Comentario Critical Mass Advertisers Print Program

Cover photograph: C. Daniel Dawson, Dawn Finley, 1966. Gelatin Silver Print.

Nueva Luz

1

Anthony Barboza

Untitled, Black Dreams/White Sheets series, 1999. Toned Gelatin Silver Print, 20 x 16”.

Anthony Barboza is a self-taught photographer, artist, writer and art historian. He began his photographic career with Kamoinge in 1964 and, a few years later, opened a commercial photography studio in New York City.

Recent exhibitions include the UFA Gallery and Robert Mann Gallery in New York City; the Smithsonian Insti­ tution in Washington, DC; Photokina and Galerie in Haus, (former) West Germany; and Chiang Kai-shek Memor­ ial Hall, in Taiwan. His work is part of permanent collections at major museums throughout New York and New Jersey, The Museum of Fine Arts in Houston, Texas, and many others. Among Barbozas awards are two New York State Council on the Arts grants (1974,1976).

Prolific in his Manhattan studio, over the years he has built a clientele which includes Clairol, Coca-Cola, Adidas, United Negro College Fund, Spike Lee Productions, Columbia Records, Miramax Films, Warner Brothers, ABC Tele­ vision Network and many others. Barbozas work has been published in The New York Times Magazine, The New Yorker, Sports Illustrated, Time, Life, Newsweek, Vibe, National Geographic, Vogue, Elle and countless others. He self-pub­ lished a book titled Black Borders after receiving a National Endowment for the Arts grant in 1980. Other books featuring his work are Commitment: Fatherhood in Black America (University of Missouri Press, 1998) and Songs of my People (Ingram, 1994).

2

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Anthony Barboza

Untitled, Black Dreams/White Sheets series, 1997. Toned Gelatin Silver Print, 20 x 16".

'These images possess - psychologically and spiritually - the essence of us, living in America. They are political, but also a response to our fantasies, fears, hopes, and dilemmas. They don’t try to answer all questions but they are meant to demand a response, whether positive or negative.

I try putting as much emotion into what I feel strongly about. I don’t believe in failure. That is only possible if I don’t attempt to capture what I feel. Photography is my life, my art of being... With all that said, I am looking to share my view with others."

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3

Ad£er W. Cowans

Untitled, 1990. Gelatin Silver Print, 16 x 20’.

Adger W. Cowans received a BFA degree in photography at Ohio University in 1958 and served as a mili­ tary photographer in the United States Navy. In New York, he studied film making at the School of Visu­ al Arts, the School of Motion Picture Arts and began working with Life Magazine photographer Gordon Parks.

His work has been exhibited at the Studio Museum in Harlem, Greenespace Gallery, Cinque Gallery and International Center of Photography, all in New York City; Brooklyn Museum and Skylight Gallery, Brook­ lyn, NY; Gordon Parks Gallery at The School of New Resources, Bronx, NY; George Eastman House, Rochester, NY; Metropolitan Museum of Art and the National Gallery, Washington, DC; De Cordova Muse­ um, MA; and others.

He was awarded a John Hay Whitney Fellowship in 1965 and a First Prize at The Yolo International Exhi­ bition in 1963, which was judged by Ansel Adams. His images have been published in The New York Times, Harpers Bazaar, Time, Life, Look, Essence, Modern Photography, Paris Match and several books including, Sacred Bond: Black Men and their Mothers, 1998. A veteran still photographer in the motion picture indus­ try, Cowans’ film still credits include Night Falls on Manhattan, Boomerang, Dirty Dancing, Gung Ho, Cotton Club, On Golden Pond, The Way We Were, and many others.

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Ad£er W. Cowans

Untitled, 1975. Gelatin Silver Print, 16 x 20”.

"For me, the artists responsibility is to keep the temple (body, mind and spirit) clear, clean and open. By being aware and keeping watch over what enters it mentally and physically. When it is so tuned, the cre­ ative impulses can be fully received and reflected to the highest degree, where line, form and color define a space that the viewer can feel with the heart, explore with the eyes and contemplate with the mind."

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5

C. Daniel Dawson

Giba Boose, 1967. Gelatin Silver Print, 8 x 10�.

C. Daniel Dawson studied filmmaking at the School of Visual Arts, the WNET-TV Black Journal training program and the New York University Graduate Institute of Film and Television, in New York City. He attended Columbia University with focused interest in Philosophy and Eastern Religion, also studying African and African-American Art and Culture.

An accomplished curator, consultant and arts administrator, over the years he has worked at the Studio Museum in Harlem, the Caribbean Cultural Center, the Museum for African Art, and continued his own work in film and video. Dawson currently works as an art and media consultant for places such as the International Center for Photography, the Cooper Hewitt Museum and the Smithsonian Institution. He also frequently lectures on African and African diasporic cultures at Universities throughout the U.S. His work has been shown in over twenty-five exhibitions and he has curated more than thirty exhibitions including Harlem Heyday: The Photographs of James Van Der Zee and The Sound 1 Saw: The Jazz Photographs of Roy DeCarava.

6

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C. Daniel Dawson

Grandma Thomas, 1968. Gelatin Silver Print. 8 x 10�.

’These photographs represent my earliest attempts at photographing portraits. The people depicted are family and close friends.'

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7

Louis Draper

Hughie Lee-Smith, 1995. Gelatin Silver Print, 11 x 14”.

Louis H. Draper, a founding member of Kamoinge, earned an MFA from New York University in Film Stud­ ies, 1970, and a BA in Humanities from Thomas Edison State College in Trenton, NJ, 1987.

His exhibitions include the Morris Museum, the Noyes Museum, ALJIRA, the Kirby Art Center, and the Ellarslie City Museum, all in New Jersey. Out of state, he has exhibited at Artist’s Space in New York City, and May Gallery in Saint Louis, MI. Drapers work has been published in Essence Magazine, Camera Maga­ zine, The Black Photographers Annual, Popular Photography, and Contact Sheet *88. He also received a New York State Council on the Arts CAPS grant in 1973, and a Light Work Artist Residency Grant in 1995.

He is currently an Assistant Professor and the Photography Coordinator at Mercer County Community College, in New Jersey and the Kamoinge Secretary.

8

Alieva Luz

Louis Draper

Herald Square, New York City, 1995. Gelatin Silver Print, 11 x 14".

' I believe that the experience of making a photograph is often a magical one, rich in the sensory pleasure of discovery and stimulating in its power to conjure up further exploration and investigation.

I will never be able to make graphically tangible much of what photography has caused me to experience.

The participation in the act of photographing has led me to worlds of interest that, I believe, would have lain otherwise dormant.'

Nueva Luz

9

Albert Fennar

Caddy, 1965. Gelatin Silver Print, 11 x 14".

Albert R. Fennar started his career in photography in 1958. He studied photography in 1963 in Japan, and credits Japanese Art and Design as his main artistic influences. An original member of the Kamoinge Work­ shop, Fennar believes that his experience with Kamoinge and mentor Roy DeCarava were essential to his passion for photography.

His work has been exhibited at Harvard University Graduate School of Design in Cambridge, MA-, the Cor­ coran Gallery of Art, Washington, DC; the San Francisco Museum of Modern Art, San Francisco, CA, and other domestic and foreign locations. Fennar lives in New Jersey and is a retired film and video editor for NBC news.

10

Nueva Luz

Albert Fennar

Sag Harbor, 1975. Gelatin Silver Print, 14 x 11".

'It is my intention to discover and share the beauty of the everyday, the mundane, the places often looked at, but seldom seen.’

Nueva Luz

11

James Ray Francis

The Dancer, 1979. Gelatin Silver Print, 8 x 10�.

James Ray Francis was born in New York City in 1937. On his fifteenth birthday, his cousin bought him a twin-reflex camera, which was his introduction to photography. He became seriously involved with pho­ tography after meeting Louis Draper in 1961.

One year later, along with Louis Draper, Mel Dixon and Herman Howard Earl James formed a group of photographers in Harlem, known as Group 35. From this, the Kamoinge Workshop was founded in 1963.

Francis went on to teach at the Bedford-Stuyvesant Neighborhood Youth Corps and at Pratt Institute.

Since 1990, he has worked as a Senior Photographer for the New York City Department of Sanitation.

12

Nueva Luz

James Ray Francis

Sandy Burton, 1975. Gelatin Silver Print, 10 x 8".

"I have been interested in photographing since I was thirteen years old. I feel there is a symbiosis of the spirit between the photographer and the subject. It can happen with any subject, a landscape or a portrait.

It is a moment when you feel that you have touched the essence of the subject. When you ‘know’ with­ out knowing what inner force makes it essential and unique!'

Nueva Luz

13

Steve Martin

Enter Here, 2000. Gelatin Silver Print. 14 x 11”.

Steve J. Martin, a native New Yorker, became serious about photography at the age of twenty-six when he moved to Austin, Texas. When he studied photography at Austin Community College, he documented the Black communities of Austin, which led him to produce several exhibition works. He later began the Black Photographers Collaborative, which produced exhibitions by Black photographers living and work­ ing in Texas. He returned to New York City in 1989 and began documenting Harlem’s exterior and land­ scape views.

Martins exhibitions include The Carver Museum in Austin, Texas; Countee Cullen Library Gallery, New York City; the City College of New York; and the Schomberg Center for Black Culture. His work has been published in The Village Voice, The Black Arts Alliance and Third Coast Magazine.

Currently, Martin works as a documentary photographer and art dealer in New York.

14

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Steve Martin

Harlem River Houses, 1999. Gelatin Silver Print, 14 x 11".

"The self-portraits are an affirmation of my existence. They help to satisfy my quest for immortality by photographing myself and my shadow in the spaces around me. I am separating myself from my self-con­ sciousness and making myself objective. The photographs transform me into whatever the image is made of, giving me a seamless connection to other objects in the picture - a connectedness that eludes me in organic life."

Nueva Luz

15

Toni Parks

Dance Theater of Harlem Students with Teacher. Gelatin Silver Print, 16 x 20".

Toni Parks was born in Minnesota and raised in White Plains, New York. She attended The Boston Con­ servatory in Massachusetts and began her career in photography in 1987, studying with Gordon Parks and Adger W. Cowans. She joined Kamoinge in 1994.

Selected exhibitions include the Brooklyn Museum of Art in Brooklyn, NY; Columbia University, The United Nations, the Fashion Institute of Technology, Covenant House, Tweed Gallery, and International Center of Photography, all in New York City; the the Gordon Parks Gallery in the Bronx, NY; Atrium Gallery, Morristown, NJ; Martin Luther King Gallery, Montclair, NJ; Dallas Museum of Art, Dallas, TX; The Gallery Torbay Hospital, Tony Green Gallery and The Look Gallery, The Atelier Gallery, all in Torquay, Devon, England. She resides, with her husband in England.

16

Nueva Luz

Toni Parks

Flamenco Dancer, 1990. Gelatin Silver Print, 8 x 10’.

’With my camera I hope to touch the heart, mind and soul of the viewer’.

Nueva Luz

17

John Pinderhughes

Untitled, Gelatin Silver Print, 16 x 20”.

John Pinderhughes was born in Washington, DC in 1946, and raised in both Alabama and New Jersey. He studied at Howard University where he became interested in photography, and graduated from WNET Television Film Production School in 1972. His passion for photography was further sparked while work­ ing in Africa with Operation Crossroads Africa.

Pinderhughes has been widely exhibited and is represented in many collections, including The Museum of Modern Art, The Studio Museum in Harlem and The Picker Art Gallery of Colgate University. He has also authored several childrens books and a cookbook entitled Family of the Spirit (Simon and Schuster, 1990).

Besides his fine art work, he is a commercial photographer, with clients including AT&T, McDonalds, Kodak, Sony, Pepsi Co, Chrysler, Ford Motor Company, Kraft Foods, Pillsbury, Chase Manhattan Bank, and many others. He has received many awards including The Clio Awards, 1988; The CEBA Awards of Excel­ lence, 1982-86,1988-92; and The Art Directors Club, 1988-90.

18

Nueva Luz

John Pinderhu^hes

Untitled. Gelatin Silver Print, 16 x 20�.

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19

Herbert Randall

Portfolio Series *9,1991. Gelatin Silver Print, 11 x 14”.

Herbert Randall studied photography in 1957 with Harold Feinstein, which stimulated his career as a free­ lance photographer for photography and news agencies. He continued to hold positions such as instruc­ tor, coordinator and consultant in photography.

His photographs have been exhibited in the San Francisco Museum of Modern Art in San Francisco, CA; The Studio Museum in NYC; Brooklyn Museum of Art in Brooklyn, NY; The Corcoran Gallery of Art in Washington, DC; and many others.

Randall’s work is in the permanent collections of the Museum of Modern Art, the Metropolitan Museum of Art in New York City, International Museum of Photography-George Eastman House in Rochester, NY; the Library of Congress; as well as other institutions.

Randall was a recipient of the John Hay Whitney Fellowship for Creative Photography, 1964-1965. He recently published Faces of Freedom Summer: The Photographs of Herbert Randall accompanied by a major exhibition by the same title at the Parris Art Museum, Southampton, NY.

20

Nueva Luz

Herbert Randall

Portfolio Series *10,1992. Gelatin Silver Print, 14 x 11".

'When asked to make a statement regarding my work I’m sometimes amused, for my sincerest hope is that the work has made the statement'.

Nueva Luz

21

Herb Robinson

Still Life *4,1999. Gelatin Silver Print 20 x 16�.

Herb Robinson is a New York City based photographer specializing in still life photography. He received his formal education at the Fashion Institute of Technology and the City University of New York.

Robinsons photographs have appeared in exhibits at the U.F.A. Gallery, Harvard University School of Design, International Center of Photography, and the Studio Museum in Harlem, New York City. His work is part of the permanent collections of the American Museum of Natural History, the James Van Der Zee Institute and the Schomburg Center for Research in Black Culture. He has been a member of Kamoinge since it’s inception and is currently the Kamoinge Treasurer.

22

Nueva Luz

Herb Robinson

Still Life *1,1998. Gelatin Silver Print, 20 x 16�.

'My photographs are the products of my most meditative moments. They reflect my need to have a voice, to share visions that I cannot explain. I have been deeply influenced by still life painters such as Chardin as well as photographic masters, such as Roy De Carava, W. Eugene Smith and Louis Mervar."

Nueva Luz

23

Bcuford Smith

Metamorphosis 1978-1998, Poster series, 1998. Gelatin Silver Print, 10 x 14”.

Beuford Smith was born in Cincinnati, Ohio, in 1941. A self-taught photographer, he began his career as a freelance photographer in the early 1970s. He was introduced to the Kamoinge Workshop by Roy DeCarava in 1965, and became the president in 1997.

Smith’s exhibitions include The Studio Museum in Harlem, the Museum of Modern Art, and the Schomburg Center for Research in Black Culture, New York City; the Corcoran Gallery in Washington, DC; the Kenkeleba Gallery, NYC and many others. His work is included in the permanent collections of the Muse­ um of Modern Art, Chase Bank, The Harlem Hospital, The New York Public Library, Light Work, Prince­ ton University, Haverford College, Hatch-Billops, Inc., among others. Smith was a founder and photo edi­ tor of The Black Photographers Annual from 1973-1981.

Smith has taught at Cooper Union and the Brooklyn Museum. He has also been an adjunct professor of art at Hunter College. Smith was the Associate Curator of the exhibit ‘Committed To The Image: A Half-Cen­ tury of Black Photography' (Brooklyn Museum of Art, 2001).

His recent grants include an Aaron Siskind Foundation Fellowship (1998-1999), a New York Foundation for the Arts fellowship (1990-1991 and 2000-2001) and he is a recipient of the Light Work Artist in Residence (1999). Smith currently works as a freelance photographer with the agency he founded in 1977: CSsaire Photo Agency.

24

Nueva Luz

Beuford Smith

Kelly-F! Hip-Hop series, 1999. Gelatin Silver Print, 14 x 11”.

'I first photographed paint peeling off walls, graffiti and poster images in the late 60s. However, for the past four years, with the advent of hip-hop flyers and posters, I have made a conscious effort to photo­ graph images that I feel are Afrocentric in nature.

Photographing graffiti, flyers, wall paintings and posters from New York to Oaxaca, Mexico is very cere­ bral and organic because the images are constantly evolving and disappearing. I would like for my images to become a part of the poster genre and Black Aesthetic. All images are photographed as I find them - there is no darkroom or computer manipulation.’

Nueva Luz

25

M i n 6 Smith

Untitled, 1991. Gelatin Silver Print, 20 x 16”.

Ming Smith has exhibited her work at The Studio Museum in Harlem, the International Center of Pho­ tography, Columbia College, the Museum of Modern Art, the Schomburg Center for Research in Black Culture, and Just Above Midtown Gallery all in New York City; the Bellevue Gallery of Fine Arts in Tren­ ton, NJ; and the Allen Memorial Art Museum in.Oberlin, OH. Her work has been published in Woman See Woman, The Black Photographer Annual and America Rag. She self-published the book A Ming Breakfast: Grits and Scrambled Moments (De Ming Dynasty, NY 1991).

26

Nueva Luz

M i n ÂŁ Smith

Untitled, 1991. Gelatin Silver Print. 20 x 16".

'Photographs should speak for themselves.'

Nueva Luz

27

Frank Stewart

Tokyo, Japan, 2000. Gelatin Silver Print, 16 x 20”.

Born in Nashville, Tennessee, Frank Stewart grew up in Memphis and Chicago. He attended the Art Insti­ tute of Chicago and received a BFA in photography from Cooper Union in New York City.

Stewarts exhibitions include the Cooper Union Gallery, the Washington Project for the Arts, the Studio Museum in Harlem, the Schomburg Center for Research in Black Culture, the International Center of Pho­ tography and the Corcoran Gallery in Washington, DC. Stewart has been granted two photographic fel­ lowships from the National Endowment for the Arts, and a New York State Council on the Arts CAPS grant.

In 1994 Sweet Swing Blues on the Road (W.W. Norton &. Co, NY), a book written by Wynton Marsalis fea­ tured photographs by Frank Stewart. His work will also be published in Smokestack Lightning: Adventure in Barbecue Land, written by Lolis Elie. Stewart is the current Vice President of Kamoinge.

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Frank Stewart

Shanghai, China, 2000. Gelatin Silver Print, 16 x 20�.

'For years I have been traveling around the world looking for what is different in all the people I meet.

Instead what I have found is the similarities among the races.'

Nueva Luz

29

Shawn ^Walker

Untitled, Street Baptismal/ Last Ritual in Harlem series, 1987-present. Gelatin Silver Print, 16 x 20�.

Shawn Walker was born in 1940 and raised in Harlem. He earned a BFA from Empire State College/SUNY in New York City.

His work has been exhibited and collected by The Schomburg Center for Research in Black Culture; The International Center of Photography; The Museum of Modern Art, and The Kamoinge Gallery; all in New York City; The Brooklyn Museum, Brooklyn, New York; and Harvard University, Cambridge, Massachusetts.

His teaching experience includes, the International Center of Photography, City College, and Columbia University, New York City; Queensborough Community College, Queens, NY; San Francisco Museum of Modern Art, San Francisco, CA; and CW Post College, Long Island, New York.

He is a recipient of numerous grants, including Light Work, the New York State Council on the Arts CAPS grant, the New York Foundation for the Arts, and The Columbia University Film Board. Walker is a found­ ing member of Kamoinge.

30

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Shawn ^Walker

Untitled, Street Baptismal/ Last Ritual in Harlem series, 1987-present. Gelatin Silver Print, 16 x 20”.

'This street baptism has occurred annually on a Sunday morning, early in August, under the auspices of The United House of Prayer for All People. This church, which Daddy Grace founded in the 1930s and led for 30 years until his death, has a long history in the Harlem community. Its original location was on the block where the street baptism is now held.

Baptism normally occurs in a lake, stream or pool where the person can be submerged under the water.

Given the inadequate space in their church on 125th Street and 8th Avenue, The United House of prayer made a unique adaptation, holding their annual Baptismal in the street with the congregation ‘sub­ merged’ under water from a fire hose.

People from the Harlem congregation are joined by people from the immediate community and, increas­ ingly, by groups from other parts of the city and out-of-state. The service is preached from a flatbed truck

by Daddy Grace’s successors and augmented by intense Pentecostal bands, bringing the congregation to a religious state of trace/ feeling the Holy Ghost'.

Nueva Luz

31

Kamoin£e Portraits

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Louis Draper

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Nueva Luz

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Commentary n Foco presents this special issue in honor of the Kamoinge photographers. The group was formed in 1963 (the same year that the civil rights bill was introduced into the U.S. Senate) providing crucial support and solidar­ ity for those vying towards artistic equality. Counteracting stereotypical media images and defining their own com­ munities, Kamoinge gained the attention of museums and galleries, moving them to exhibit works by photographers of color for the first time.

Since many of the original Kamoinge members are still active today, we have made a photographic selection that spans the past thirty years. The greater impact of their efforts may not yet be in all the art history books, but our hope is that our viewers will draw strength and inspiration from these images.

Miriam Romais, Managing Editor

Kamoinge exists, as a forum of African-American photographers, to view and critique each others work in an honest and understanding atmosphere, to nurture and challenge each other in order to attain the highest creative level. The name comes from the Kikuyu language of Kenya, and means a group of people acting together. Its aim is to seek out the truth inherent in our cultural roots; to create and communicate these truths with insight and integrity.

For many of us, the turbulent 60s brought into focus a deep sense of urgency to find a direction for our photographs. Seeking a spine for this direction made feed­ back for our efforts as critical an activity as creating the work itself.

Through the community grapevine, word was passed that a meeting was to be held in Harlem to bring African-American photographers together. In 1963, Group 35, which included James Ray Francis, Louis Draper, Her­ man Howard, Earl James and Calvin Mercer - met with a second group of photographers, including Herbert Randall, Albert Fennar, and James Mannas, Jr. The groups joined, forming Kamoinge - a name selected by Fennar. Roy DeCarava, Larry Stewart and Melvin Mills were instrumental in the early years of Kamoinge’s development. To paraphrase Ray Francis, “we were working on little individual islands, unaware of each other’s presence.” This situation, he felt, impeded growth, and therefore, needed to be addressed if we were to flour­ ish as image makers. DeCarava was a major catalyst in giv­ ing direction to the group and was voted Kamoinge’s first director.

The group’s first significant activity was to produce a portfolio of photographs, so that Kamoinge’s images could be placed in permanent collections. Since Mills worked in a print shop, he was able to print twenty portfolios at no cost, with a cover designed by DeCarava. A second portfo­ lio was created, containing fifteen original prints. Our intention was to help make up for the absence of works by African American artists, so history couldn’t say we didn’t exist. We sent them to several African-American colleges, The Schomburg Center for Research in Black Culture and the Museum of Modern Art in New York.

During that time, we were meeting at several

members’ homes and, to them, Kamoinge acknowledges its deep gratitude. In 1965, we rented the parlor floor of a Harlem brownstone on 137th Street and named it the Kamoinge Gallery. One of our important projects was the Final Man based on a poem by the Jamaican poet, Basil McFarlane. It was the first consciously African-oriented theme attempted by the group. Our first exhibition was called Theme Black, and featured an original design by a artist named Shiki.

With a new space, we scheduled guest speakers and were open to new members. Our critiques were tough and to the point, but constructive. Some visitors and those wanting to become members did not fare well from our feedback. Others blossomed, became members and grew, teaching one another the virtues of seeing with passion and conviction. Among our guests were Peter Magune, a South African photojournalist; John Szarkowski, then the Director of Photography at the Museum of Modern Art; Langston Hughes, poet and playwright; Henri Cartier-Bres­ son, photojournalist; and R.E. Martinez, publisher of the Swiss magazine, Camera. Cartier-Bresson suggested to Mar­ tinez that Kamoinge should be published in Camera, which resulted in a twenty-three page feature in the July 1966 issue.

DeCarava left the group at the end of 1965.

Kamoinge vacated the gallery space the following year, in dispute over the landlord’s policy of who should decide what should be exhibited. We stopped meeting on a regu­ lar basis but came together over the years for group shows at places such as The Studio Museum in Harlem, the Inter­ national Center for Photography, Amherst College and Notre Dame University.

In 1994, Anthony Barboza suggested that Kamoinge begin meeting again. Following the suggestion, the group was restructured and committed itself to a renewed vision, incorporating and achieving non-profit status in 1998. Through Shawn Walker’s efforts, Kamoinge became affiliated with the Institute for Youth Entrepre­ neurship (I.Y.E.) in Harlem, from 1998-99. As part of our involvement with the community, we provided seminars and a Black History Month exhibition, in exchange for the space to meet once per month.

Kamoinge has been active giving seminars; has had portfolios published in Culture Front magazine; received two acknowledgments in American Visions magazine; and created a major exhibition at UFA Gallery in New York City, curated by Steve Martin. Anthony Barboza and Beuford Smith served as consulting curators for the major exhibition Committed To The Image: A Half Century of Black Photography in America, at The Brooklyn Museum of Art. Lou Draper, Herbert Robinson, Daniel Dawson, Ray Francis and Albert Fennar are highly skilled in digital technology; John Pinderhughes, C. Daniel Dawson and Frank Stewart are involved with iris prints and a few members are setting up dry darkrooms. For the last four years Kamoinge has organized an annual picnic.

Current plans include creating a CD-Rom of pho­ tographs representing members’ work and a quarterly newsletter of photography and written materials. Several new members joined in 2001, and plans are underway for a website, as well as national and international activities.

Kamoinge Inc., formerly known as Kamoinge Workshop, is a non-profit New York based group of African-American photographers, founded in 1963. Current members are: Anthony Barboza, Adger W. Cowans, Gerald Cyrus, C. Daniel Dawson, Louis Draper, Albert Fennar, Collette Fournier, James Francis, Steve Martin, Joe Maynard, Ming Smith Murray, Toni Parks, John Pinderhughes, Herbert Randall, Eli Reed, Herb Robinson, Beuford Smith, Frank Stewart, Shawn Walker and Budd Williams. Kamoinge can be reached at 718/624-7670 - kamoinge@msn.com Nueva Luz

33

Comentario n Foco presenta esta edicidn especial en honor a los fotografos de Kamoinge. El grupo fue formado en 1963 (el mismo afio en que la declaracion de derechos civiles fue introducida al Senado de los E.E.U.U.), proporcionando apoyo y solidaridad crucial para aquellos que competian hacia igualdad artistica. Contrarrestando estereotipos de los medios y definiendo sus propias comunidades, Kamoinge gano la atencidn de museos y galenas, moviendolos a exponer trabajos de fotdgrafos de color por la primera vez.

Puesto que muchos de los miembros originates de Kamoinge continuan activos hoy dia, nosotros hemos hecho una selection fotografica que abarca los ultimos treinta afios.

Puede ser que la magnitud del impacto de su esfuerzo no este en todos los libros de historia del arte, pero nuestra esperanza es que nuestro lector consiga fuerza e inspiration por medio estas imagenes.

Miriam Romais, Managing Editor Kamoinge existe, como un foro de fotdgrafos afroamericanos, para ver y criticar nuestra obra en una atmdsfera honesta y de entendimiento, para nutrir y retarnos entre nosotros mismos y asi lograr el nivel creativo m&s alto. El nombre se deriva del idioma Kikuyu de Kenya, y significa un grupo de personas actuando juntos. Nuestro objetivo es buscar la verdad inherente en nuestras raices culturales; crear y comunicar estas verdades con perspicacia e integridad.

Para muchos de nosotros, los turbulentos afios 60 trajeron a colacidn un profundo sentido de urgencia por hallar una direccidn para nuestras fotos. La busqueda de la esencia de esta direccidn hizo de la retroalimentacidn por nuestros esfuer­ zos una actividad tan crucial como la creacidn de la obra misma.

Mediante la comunidad, se difundid que una reunion iba a tomar lugar en Harlem para unir a fotografos afro-americanos. En 1963, el Grupo 35 - cuyos miembros incluian a James Ray Francis, Louis Draper, Herman Howard, Earl James y Calvin Mercer - se reunid con un segundo grupo de fotdgrafos, incluyendo a Herbert Randall, Albert Fennar, y James Mannas,

Jr. Los grupos se unieron para formar Kamoinge - nombre escogido por Fennar. Roy DeCarava, Larry Stewart y Melvin Mills fueron instrumentales en los primeros afios del desarrollo de Kamoinge. Para parafrasear a Ray Francis, "est&bamos traba­ jando en pequefias islas individuates, sin estar al tanto de la presencia de los otros'. Esta situacidn, el opinaba, impedia el crecimiento y, por lo tanto, necesitaba ser atendida si ibamos a destacarnos como creadores de imagenes. DeCarava fue un gran catalizador, dandole direccidn al grupo. El fue elegido el primer director de Kamoinge.

La primera actividad significativa del grupo fue pro­ duct un portafolio de fotografias para que las imagenes de Kamoinge puedieran ser colocadas en colecciones permanentes.

Ya que Mills trabajaba en una imprenta, el pudo imprimir veinte portafolios con una portada disefiada por DeCarava sin costo alguno. Nuestro segundo portafolio consistid de quince fotos originates. Nuestra intencidn era ayudar a compensar la ausencia de obras de artistas afro-americanos, para que la histo­ ria no pudiera decir que no existiamos. Los enviamos a varias universidades afro-americanas, al Centro Schomburg, y al Museo de Arte Moderno de Nueva York.

Durante ese tiempo, nos est£bamos reuniendo en los hogares de varios miembros y, a ellos, Kamoinge les reconoce con su profundo agradecimiento. En 1965, alquilamos la sala de

recibo de un ’brownstone' en la calle 137 de Harlem y nombramos el espacio la Galena Kamoinge. Uno de nuestros proyectos importantes fue el Ultimo Hombre basado en un poema del poeta Jamaiquino Basil McFarlane. Este fue el primer tema conscientemente afro-americano llevado acabo por el grupo. Nuestra primera exhibicidn fue titulada Negro Tema, y protagonizd el disefio original de un artista llamado Shiki.

Con un nuevo espacio, organizamos charlas dadas por artistas invitados y comenzamos a aceptar a nuevos miembros.

Nuestras criticas fueron fuertes y directas, pero constructivas.

Algunos visitantes y algunas personas que querian convertirse en miembros no reaccionaron de manera positiva hacia nues­ tras criticas. Otros florecimos, nos convertimos en miembros y crecimos, ensefi&ndonos unos a los otros las virtudes de de una vision apasionada y con conviccidn. Entre nuestros invitados estuvieron Peter Magune, un fotoperiodista sudafricano; John Szarowski, el entonces Director de Fotografia en el Mueso de Arte Moderno; Langston Hughes, poeta y dramaturgo; Henri Cartier-Bresson, fotdgrafo; y R.E. Martinez, editor de la revista suiza Camera. Cartier-Bresson le sugirio a Martinez que Kamoinge deberia ser publicado en Camera. Esta sugerencia resultd en un articulo de primera plana de ventitrds paginas en el volumen de julio de 1966.

DeCarava dejd Kamoinge a finales de 1965. Kamoinge desocupd la galena en 1966 a causa de una disputa con el propietario del edificio sobre quien debia decidir que debia ser exhibido. Dejamos de reunirnos regularmente pero a traves de los afios tuvimos varios reencuentros a causa de exhibiciones en grupo en lugares como The Studio Museum in Harlem, el Cen­ tro lnternacional de Fotografia, Amherst College y la Universidad de Notre Dame.

En 1994, Anthony Barboza sugirid que Kamoinge debia comenzar a reunirse nuevamente. Siguiendo la sugerencia, Kamoinge fue reestructurado y se comprometid a una nueva visidn. El grupo se incorporo y logro estatus de organizacidn sin fines de lucro en 1998. Mediante los esfuerzos de Shawn Walk­ er, de 1998 a 1999, Kamoinge se afilid con el Instituto de Empresariado Juvenil (I.Y.E. por sus siglas en ingles), en Harlem. Como parte de nuestra participacidn con la comunidad, ofrecimos seminarios, una exhibicidn del Mes de la Historia Afro-Ameri­ cana, a cambio de un espacio para reunirnos una vez al mes.

La organizacidn ha estado activa ofreciendo seminarios; sus portafolios se han publicado en la revista Culture Front, recibid dos reconocimientos en la revista American Visions, y cred una exhibicidn principal curada por Steve Martin en la galena UFA de Chelsea, en la Ciudad de Nueva York. Anthony Barboza y Beuford Smith consultaron la curaduria de Commit­ ted To The Image: A Half Century of Black Photography in Ameri­ ca, una exhibicidn principal en el Museo de Arte de Brooklyn.

Lou Draper, Herbert Robinson, C. Daniel Dawson, James Ray Francis y Albert Fennar son altamente diestros en tecnologia digital; John Pinderhughes, C. Daniel Dawson y Frank Stewart estan trabajando con impresiones de Iris y algunos miembros estan montando cuartos oscuros secos. Durante los ultimos cuatro afios Kamoinge ha organizado un picnic anual.

Los planes actuales incluyen crear un CD-Rom de fotografias representando la obra de los miembros, una revista trimestral de fotografia y material escrito. Varios nuevos miem­ bros se han unido en el 2001. H ay planes para una pagina Web y para actividades nacionales e internacionales.

Kamoinge, Inc., antes conocida como Taller Kamoinge, es una organizacidn sin fines de lucro de fotdgrafos afro-americanos basados en Nueva York, fundada en 1963. Los miembros actuales son: Anthony Barboza, Adger W. Cowans, Gerald Cyrus, C. Daniel Dawson, Louis Draper, Albert Fennar, Col­ lette Fournier, James Ray Francis, Steve Martin, Joe Maynard, Ming Smith, Toni Parks, John Pinderhuges, Herbert Randall, Eli Reed, Herb Robinson, Beu­ ford Smith, Frank Stewart, Shawn Walker y Budd Williams. El nurnero de telefono de Kamoinge es 718/624-7670 - kamoinge@msn.com 34

Nueva Luz

Critical Mass

A Leading Resource for Photographers

Works by the winners of En Foco's New Works Photography Awards 2000 will be on view at the Bronx River Art Gallery, from November 3 through December 8, 2001. See listings for details.

NEW WORKS AWARDS Congratulations to the four pho­ tographers being awarded En Foco's 2001 New Works Photography Award: Gaye Chan from Hawaii, Larry McNeil from Idaho, Lisa Jong-Soon Goodlin from New York, and Rosey Truong from South Carolina. You will soon be able to view and read about their work on our website (www.enfoco.org).

The winners of last year's Awards have spent an intense period working on their projects. Edwine Sey­ mour, Jaishri Abichandani, Trina Kyounghui Yi and Andrew Ortiz are ready to exhibit their new work at the Bronx River Art Center & Gallery from November 3 to December 8, 2001.

If you are in town, please go see this exhibition - the work is stunning!

Some of the artists will be giving an Artist Talk which is free and open to the public. Further details are in the Exhibi­ tion listings.

SURVEY SAYS...

Not many people may realize this, but Nueva Luz has been around for 17 years. It began as a suggestion by pho­ tographer Frank Gimpaya, to provide a much needed publication opportunity for photographers of color.

Since then, the journal has grown in leaps and bounds. It is sent to thou­ sands of artists, educators, curators and arts professionals seeking new talent, as well as the general public. It is distrib­ uted throughout the U.S. and Latin America.

It is important for us to receive feedback from our readers, especially as we enter a renewed period of production.

We have many improvements in mind, but would also like to adapt your com­ ments and suggestions.

Please help us evaluate the pub­ lication. Is there anything you would like to see more of? What is your favorite sec­ tion? Would you like to receive exhibition announcements via email?

Of the 495 surveys mailed, 70 have been returned as of June 20th. If you didn't receive one (or forgot to send it in) there is still time to make your comments and opinions heard. Just download a PDF of the survey by logging onto www.enfoco.org, or request it to be faxed to you.

Some of the changes already underway include a thicker cover, addi­ tional pages, visually integrating Critical Mass newsletter into the journal, along with more up-to-date listings and addi­ tional articles.

The much awaited color issue, celebrating over 25 years of works by

photographers involved with En Foco's programs, will be out this fall. Members will receive a copy as part of their sub­ scription, but it may also be purchased separately.

CONGRATS To our Advisory Board Member Ricky Flores, who received a New York Publishers Association Award for Excellence in Distinguished News Photography, for his coverage of the Amadou Diallo Verdict for The Journal News.

WELCOME En Foco is very proud to wel­ come its newest staff member, Daniel Schmeichler. Many of the enhancements you will be seeing in Nueva Luz will fall into his capable hands as the new Pro­ duction Coordinator.

Also a warm welcome to the newest members of En Foco's Board of Directors and Advisors: Frank Gimpaya and Nadema Agard.

Gimpaya has been with En Foco since it's inception, providing invaluable creative feedback and guidance as its Art Director. En Foco is happy to welcome him into this new role.

Agard works for the National Museum of the American Indian /Smith-

Nueva Luz/Critical Mass

35

Expo XXI. Submit up to six slides for a competition judged by Dana Miller, Assistant Curator, Whitney Museum, NYC. Three to five winners receive a show at the b.j. spoke gallery. Huntington, NY. Fee is $35, 35% commission on sales. For guidelines send SASE to b.j. spoke gallery, 299 Main Street, Huntington, NY 11743. 631/549-5106. Deadline: November 17.

Alejandro Jaimes-Larrarte, External Contemplations.

An En Foco Touring Gallery Exhibition at North Fork Bank, 4201 White Plains Road at 233rd Street, Bronx, NY 10466. 718/994-1900. Through July 31. © Alejandro Jaimes-Larrarte, Family, Trinidad, Cuba, External Contemplations series, 1999.

sonian Institution in New York City, as their Community Outreach Specialist. A very talented artist and curator, we value her expertise and are pleased to welcome her on board.

OOPS In the previous issue, Robert Lee from the Asian American Arts Center in New York, was the Guest Editor for Nueva Luz. It was not made clear that he selected all the photographers in addi­ tion to writing the commentary for Vol­ ume 6:3.

Please note that it has come to our attention that the Barbara Deming Memorial Fund, announced in our last issue and other publications, does not fund photographic works.

Miriam Romais Production Editor

2001 Gordon Parks Photography Com­ petition, cash prizes. For guidelines send an SASE to The Lucile James Fine Arts Committee, Fort Scott Community Col­ lege, 2108 South Horton, Fort Scott, KS 66701.

Deadline: September 1. www.ftscott.cc.ks.us Seventh Annual National Juried Photo Competition, cash prizes. For guidelines contact Texas Artists Museum, 3501 Cul­ tural Center Drive, Port Arthur, TX 77642. 409/983-4881. Deadline: Septem­ ber 4. txartmuseum@netzero.net James D. Phelan Art Award, open to Califomia-bom photographers. $2,500 cash award, no entry fee. For guidelines send a SASE to SF Camerawork, 1246 Folsom Street, San Francisco, CA 94103. 415/8631001. Deadline: October 13. www.sfcamerawork.org

The Greene County Council on the Arts is reviewing slides and proposals for solo and group shows at their Mountaintop and Catskill galleries. Send up to 20 slides, information on the proposed exhi­ bition, artist's statement and SASE to GCCA Visual Arts Program, 398 Main Street, Catskill, NY. 518/943-3400.

Slides are being reviewed for the 20012002 season. Send an SASE for more information: The Mather Gallery, Case Western Reserve University, 10900 Euclid Avenue, Cleveland, OH 44106. 216/3682679.

Hyde Park Art Center is reviewing works for exhibition. Three artists will be selected, receive a $500 honorarium each, and the exhibit will remain on view for four months at the Cook County Admin­ istration Building. Works being reviewed for the Ruth Horwich Gallery. Contact Hyde Park Art Center, 5307 South Hyde Park Blvd, Chicago, IL 60615. 773/3245520. www.hydeparkart.org Gallery 1101 is reviewing work by emerging artists for the 2002 season.

Send 15-20 slides, statement, and resume to Gallery 1101, Southern Illinois Univer­ sity at Carbondale, Department of Cine­ ma and Photography, Carbondale, IL 62901. rebeccasittler@hotmail.com Fine Arts Center Gallery is reviewing proposals for exhibition. Submit cover letter, 20 slides, resume statement and SASE to Gallery Director, Art Depart­ ment, Arkansas State University, POBox 1920, State University, AR 72467.

501/972-3050.

Exhibition Opportunities

Competitions

Gallery 214 is reviewing work for Gallery East. For prospectus send SASE to Gallery 214 Art Space, 214 Glenridge Avenue, Montclair, NJ 07042. 973/7441940.

Southern Light Gallery is reviewing work for solo exhibitions. Submit slides and background materials to Jim Jordan, Southern Light Gallery, Amarillo Col­ lege, 2011 South Washington, Amarillo, TX 79109. 806/371-5267.

Emerging Artists 2002, an international group exhibit to be held in February at the Limner Gallery is open to all media. $9,000 in Awards. Send SASE for guide­ lines to: Limner Gallery, 870 Avenue of the Americas, New York, NY 10001 or email prospectus@slowart.com. Deadline: October 30.

Queens Museum of Art seeks submis­ sions for the following solo shows: I. Queens Focus series (candidates must live or work in Queens) II. Bulova Cor­ porate Center (metropolitan area artists, all media) III. Ramp and Wedge (site-spe­ cific installation space in museum). Sub­ mit labeled slides, resume, cover letter.

Los Angeles Center for Photographic Studies is accepting proposals for exhibi­ tion. Send up to 10 slides (including name, title, date, size, medium and pre­ sentation information), resume, state­ ment, and SASE to Exhibition Commit­ tee, LACPS, 6510 Hollywood Blvd, Los Angeles, CA 90028.

OPPORTUNITIES

36

Seventh Annual International Exhibi­ tion of Women's Art, juried by Larissa Harris, Assistant Curator, P.S.l Center for Contemporary Art, NY. Open to all inter­ national women artists 21 years or older.

Fee: $25/3 slides, $5 each additional. Best in show receives a solo exhibition con­ current with group show winners. For an application send SASE to SOHO20, 545 Broadway, 3rd floor. New York, NY 10012. 212/226-4167. www.soho20gallery.com

proposal & SASE to: Curatorial Depart­ ment, Queens Museum of Art, Flushing Meadows Corona Park, Queens, NY 11368. Deadline: August 31.

Nueva Luz/Critical Mass

Submit slides for possible one-person exhibition, 2001-2002. Send 20 slides, dimensions of work, resume, and SASE to Barbara Thompson, University of Cal­ ifornia Berkeley Extension, 55 Laguna Street, San Francisco, CA 94102.

San Francisco Camerawork is reviewing proposals by individual artists and cura­ tors. Send up to 20 slides, statement, resume, SASE and support materials: Programming Committee, SF Camera­ work, 115 Natoma Street, San Francisco, CA 94105. 415/764-1001.

Blue Sky Gallery is accepting slide sub­ missions for show. Send 20 slides and a SASE to 1231 NW Hoyt, Portland, OR 97209. bluesky@blueskygallery.org The Kiyosato Museum of Photographic Arts wishes to collect works by young and emerging photographers. Applicants should be 35 years old or younger. For applications contact The Kiyosato Muse­ um of Photographic Arts, Young Portfo­ lio Section, 3545 Kiyosato, Takane-cho, Kitakoma-gun, Yamanashi 407-40301. www.comlink.ne.jp/ ~kmopa/

Employment Exhibitions Program Coordinator need­ ed to begin in September. MFA or MA in photography or related media required, at least two years experience with gallery operations. Salary commensurate with experience. EOE. Contact: Nathan Lyons, Director, Visual Studies Workshop, 31 Prince Street, Rochester, NY 14607. nlyons@brockport.edu Sales representatives needed for FYI, a quarterly arts magazine by the New York Foundation for the Arts, to help increase its advertising in Western and Central NY, Hudson Valley and New York City area. Generous commissions. Send letters of inquiry to FYI, New York Foundation for the Arts, 155 Avenue of the Americas, 14th floor. New York, NY 10013-1507.

Assistant Professor to fill a tenure track position at the School of Mass Communi­ cations at Texas Tech University. MFA or PhD required. Contact Ashton Thornhill, Associate Professor of Photocommunica­ tions. 860/742-1621. 915/446-2301 (sum­ mer). ashton.thomhill@ttu.edu Associate Chair with a demonstrated commitment to photographic education

excellence. MFA or equivalent profes­ sional experience required. Send CV, samples of current work in any form, teaching or educational philosophy, and SASE: Michelle Borge, Parsons School of Design, Photography Dept, 66 5th Avenue, 5th Floor, New York, NY 10011. arcosm@newschool.edu.

Digital Faculty Member needed for full­ time senior leadership role in department of Photography. Requirements include extensive experience in teaching and working professionally with digital imaging; MFA or equivalent. For more details or to apply send resume, cover letter and slides of recent work and stu­ dent work to Parsons School of Design, Photography Dept, 66 5th Avenue, 5th Floor, New York, NY 10011.

Assistant Professor of Photography needed at Millersville University. MFA in photography, an active exhibition record and full-time college teaching experience required. Send application letter, CV, copies of transcripts, three current letters of recommendation and slides of person­ al work as well as students work to Pro­ fessor Brigid O'Hanrahan, Search Com­ mittee Chair, Art Dept./NVllOO, Millersville, PA 17551-0302.

Visual Arts Director, to curate and over­ see all exhibition aspects (6-8 per year) in newly renovated 1,400 square foot gallery. Responsibilities include market­ ing, research, working with the Develop­ ment Department to secure funding.

Requirements include Bachelors Degree in fine arts or other related field. Com­ petitive salary and excellent benefits.

Please submit cover letter and resume to: Deputy Director for Programs, Re: Visual Arts Director, Jamaica Center for Arts & Learning, 161-04 Jamaica Avenue, Jamaica, NY 11432. Fax: 718/658-7922.

Publication En Foco reviews fine art & documentary works by photographers of Native Amer­ ican, Asian, African and Latino heritage on an ongoing basis. Photographers are encouraged to review several issues of the magazine before submission. Send 20 slides, resume, statement about the work and SASE for return of your materials. En Foco, attn: Nueva Luz, 32 East Kingsbridge Road, Bronx, NY 10468.

Residencies The Alternative Museum is offering four residencies to artists who are creating Web art to be viewed solely on the inter­ net. $3,000 stipend. For applications send a SASE to the Alternative Museum, 549 Broadway, New York, NY 10012 altmuseum@aol.com.

Millay Colony offers one-month resi­ dencies, providing private room, board and studios. For application contact The Millay Colony for the Arts, POBox 3, Austerlitz, NY 12017. 518/392-3103.

Women's Studio Workshop Residencies are available for New Jersey artists work­ ing in Printmaking or Photography. Six week residencies include a $2,000 stipend, travel money, housing and unlimited studio access. WSW encour­ ages applications from emerging artists.

Send a one page project description, resume, 10 slides with a slide script, and a SASE. Women's Studio Workshop, P.O. Box 489, Rosendale, NY 12472. 845/6589133. Deadline: August 15. www.wsworkshop.org Artist in Residence program offers hon­ orarium, food stipend, room & board and travel reimbursement, in exchange for a donation of one photograph for the CPW permanent collection. Send 20 slides, statement, resume and SASE to Judi Esmond, AIR Coordinator, Center for Photography at Woodstock, 59 Tinker Street, Woodstock, NY 12498.

Yaddo offers 2 week to 2 month residen­ cies to professional artists working in media. Send a SASE to Admissions com­ mittee, Yaddo, PO Box 395, Saratoga Springs, NY 12866. 518/584-0746. Dead­ line: August 1.

Light Work offers one month residencies for US & international photographers.

Includes housing, $1,200 stipend, dark­ room and computer facilities in a newly renovated state-of-the-art facility. Submit slides, resume, letter of intent to Light Work, Artist in Residence Program, 316 Waverly Avenue, Syracuse, NY 13244.

315/443-1300.

The Julia and David White Artist's Colony in Costa Rica aims to provide a secular humanist environment to sup­ port and encourage serious working artists from anywhere in the world. Resi­ dencies are from June 1st through

Nueva Luz/Critical Mass

37

December 31st. Contact: The Julia and David White Artist's Colony, P.O. Box 526770, Miami, FL 33152. 506/249-1414. www.whiteartistscolony.org Anderson Ranch Arts Center offers full and partial scholarships for summer pro­ grams and residencies. Contact the Anderson Ranch Arts Center, PO Box 5598, Snow Mass Village, CO 81615.

970/923-3181.

Jentel Artist Residency Program wel­ comes photographers, but no darkroom facilities, for a month long residency the following March. Must be over 25, and residing in the US. For application send a SASE to: Admissions Committee, Jentel Artists Residency Program, 11 Lower Piney Creek Road, Banner, WY 82832.

Deadline: September 1.

American Samoa Council on Culture, Residents of American Samoa are eligible for any grants or fellowships available to photographers. Send a SASE to AS Coun­ cil on Culture, Office of the Governor, Box 1540, Pago Pago, AS 96799. 684/6335613.

Ferguson Grant, an award of $2,000 given to new upcoming fine-art photog­ raphers. For information, send a SASE to Friends of Photography, 240 4th Street, San Francisco, CA 94103. 415/495-7000.

Ansel and Virginia Adams Research Fellowship offers two $2,500 awards to provide research time for scholars need­ ing to use the resources at the Center.

Send an SASE to: Center for Creative Photography, The University of Arizona, PO Box 210103, Tucson, AZ 85721.

520/621-7968. Deadline: October.

Grants The New York State Council for the Arts Electronic, Media and Film Program offers awards up to $5,000 for recently completed film, video, computer-based work and installation art. For guidelines and applications contact NYSCA Pro­ gram, 915 Broadway, New York, NY 10010. 212/387-7168. Deadline: August 15. khelmerson@nysca.org Thanks Be To Grandmother Winifred Foundation offers grants between $500 and $5,000 to Women Artists over the age of 54. Contact Thanks Be To Grandmoth­ er Winifred Foundation, PO Box 1449, Wainscott, NY 11975.

Mother Jones Photo Fund supports indepth documentary projects that are less likely to be completed without monetary backing. Interested in multi-year projects from cultures currently underrepresent­ ed in western media. Grants are $7,000 each. For an application contact Mother Jones Photo Fund for Documentary Pho­ tography, 731 Market Street, Suite 600, San Francisco, CA 94103. 415/665-6637. www.motherjones.com/photofund Deadline: September 1.

Do Something, offers $500 grants for people under the age of 30 to be used to create a new project or to continue an existing project. Must demonstrate a con­ crete plan of action and detailed budget.

For more information, contact Do Some­ thing Grants Program, 423 West 55th Street, 8th Floor, New York, NY 10019.

38

Nueva Luz/Critical Mass

EXHIBITIONS Annu Palakunnathu Matthew, Bollywood Satirized & Memories of India. DeCordova Museum and Sculpture Park, 51 Sandy Pond Road, Lincoln, MA 01773. 781/2598355. www.decordova.org Through Sep­ tember 3.

Sunil Gupta, Homelands. Admit One, 529 West 20th Street, 4th Floor, NYC 10011.

212/463-0164.

Through July 21. spuria@concentric.net Sebastiao Salgado. Yancey Richardson, 535 West 22nd Street, 3rd Floor, NYC 10011. 646/230-9610. Through August 24. yrg@mindspring.com Leroy Henderson, Photography. June Kelly Gallery, 591 Broadway, NYC 10012.

212/226-1660. Through August 3.

Eli Reed, Werner Bischof, Rene Buri and others. Photographs from the Magnum Library. Howard Greenberg, 120 Wooster Street, NYC 10012. 212/334-0010.

Through August 4. www.howardgreenberg.com Corky Lee, Not on the Menu: From Asian/Pacific Islander Roots to American Reality. Museum of the Chinese in the Americas, 70 Mulberry Street, New York, NY 10013. 212/619-4785 Through November 30. www.moca-nyc.org RJ Muna, Jose Picayo, Kate Ome and others. Summertime. Robin Rice Gallery, 325 West 11th street, NYC 10014.

212/366-6660. Through September 8.

Iran do Espmto Santo, Rivane Neuenschwander. Forma Brazil. Americas Soci­ ety, 680 Park Avenue, NYC 10021.

212/249-8950.

Through July 29. www.americas-society.org Adal, Tony Velez, Nelson Garrido and others. Voices from our Communities: Per­ spectives on a Decade of Collecting at El Museo del Barrio. El Museo del Barrio, 1230 Fifth Avenue, New York, NY 10029.

212/831-7272. Through September 16. www.elmuseo.org Sebastiao Salgado, Migrations, Humanity in Transition. International Center of Pho­ tography, 1133 Avenue of the Americas, New York, NY 10036. 212/860-1777.

Through September 9. www.icp.org Edwine Seymour, Serving the Spirits: Vodou Rituals in Haiti. Jaishri Abichandani. Trina Kyounghui Yi, Her-Story and Her-itage. Andrew Ortiz, Disconnec­ tion/Reconnection. An En Foco exhibition at the Bronx River Art Gallery, 1087 East Tremont Avenue, Bronx, NY 10460.

718/589-5819. November 3-December 8. www.bronxriverart.org and also www.enfoco.org Laura Aguilar, Robert Buitron, Kathy Vargas, Aztldn Today: The Chicano Postna­ tion. Bronx Museum of the Arts, 1040 Grand Concourse, Bronx, NY 10456.

718/681-600. Through September 9.

Toni Parks, New York in Performance. Gor­ don Parks Gallery, The College of New Rochelle, 332 East 149th Street, Bronx, New York. 718/665-1310. Through July 30.

Vicki Ragan, Measuring the Ineffable.

Center for Photography at Woodstock, 59 Tinker St, Woodstock, NY 12498.

845/679-9957. Through August 5. www.cpw.org Eduardo Blidner, Tango Argentino.

Adirondack Lakes Center for the Arts, P.O. Box 205 Blue Mountain Lake, NY 12812. 518/352-7715. July 11 - August 10.

Saiman Li, Walid Raad, Frank Miller and others. Paradise in Search of a Future, Part 1. CEPA, 617 Main Street #201, Buf­ falo, New York 14203. 716/856-2717.

Through August 24. cepa.buffnet.net Hector Mendez Caratini, Searching for a Miracle. The Newark Museum, 49 Wash-

ington Street, Newark, 973/596-6550.

Through www.newarkmuseum.org

NJ 07101.

July 29.

Annu Palakunnathu Matthew, Bollywood Satirized. Philadelphia Art Alliance, 251 South 18th Street, Philadelphia, PA 19103.

215/545-4302. Through September 3. www.philartalliance.org Phyllis Galembo, Manifestations of the Spirit: Photographs of Afro-Brazilian Reli­ gions. National Museum of Natural His­ tory, 10th Street at Constitution Ave NW, Washington, DC 20560. 202/357-2700.

Through January 2002. mnh.si.edu William Gedney, Short Distances and Def­ inite Places. Center For Documentary Studies, 1317 West Pettigrew Street, Durham NC 27705. 919/681-3654.

Through August 4.

Carrie Mae Weems, The Hampton Project.

High Museum of Art, Georgia-Pacific Center, 133 Peachtree Street, Atlanta, GA 30303.404/577-6940. Through September

8. www.high.org Olive Boberg, Nikki Lee and Zwelethu Mthethwa, On View. The Museum of Contemporary Photography, Columbia College Chicago, 600 South Michigan Avenue, Chicago, IL 60605. 312/6635554. Through July 28. www.mocp.org Rita Rivera, Jules Allen, Miriam Romais and others. Americanos: Latino Life in the United States. Smith Robertson Museum & Cultural Center, 528 Bloom Street, Jackson, MS 39202, 601/960-1457, through August 12. Also at El Museo Latino, 4701 South 25th Street, Omaha, NE 68107, 402/731-1137, through Sep­ tember 22.

Miriam Romais, and others, Joyce Elaine Grant Exhibition. Fine Arts Gallery, Texas Woman's University, Comer of Texas & Oakland, Denton, TX 76204. 940/8982530.

Eli Reed, Dawoud Bey, Lynn Davis, Debbie Flemming Caffery and others.

Indivisible: Stories of American Community.

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Center for Creative Photography, Univer­ sity of Arizona, 1030 North Olive Road, Tucson, AZ 85721. 520/621-7968. July 14-September 30. www.creativephotography.org John Candelario, In His Native Land.

Museum of Fine Arts, 107 West Palace Avenue, Santa Fe, NM 87501. 505/4765072. Through August 29. www.museumofnewmexico.org David Bacon, Every Worker is an Organiz­ er, through August 26. Gordon Parks, Half Past Autumn, through September 23.

Oakland Museum of California, 10th & Oak St, Oakland, CA 94607. 888/6256873. www.museumca.org Christopher Burkett, Recent Images, through July. Chris Hooper, Black and White Landscapes and Seascapes, Septem­ ber. Photography at the Crossroads: The Evo­ lution from Daguerreotype to Digital, Octo­ ber. Craig Barber, Pinhole Photography, November. Photographic Image Gallery, 240 Southwest First, Portland, OR 97204.

503/224-3543.

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Mariana Yampolsky, Elva,Huejotziongo, Puebla, 1962. Gelatin silver print, 10 x 10". $400 Kathy Vargas, untitled, Oracidn: Valentines Day, 1991. Hand colored $300 gelatin silver print, 14 x 11"

Tetsu Okuhara, Neon Samurai, 1987. Gelatin silver print, 20 x 16” $300

En Foco's Print Collectors’ Program offers a unique opportunity to purchase signed original photographs by internationally recognized artists. This special program offers an opportunity to collect their works, while helping support their favorite photography organization: En Foco!

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Sophie Rivera, Blizzard, 1987.

Gelatin silver print, 14 x 11" $300

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Frank Gimpaya, Boy Jumping Off Pier, 1972. Gelatin Sil­ ver Print, 13 x 19” $300

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Dawoud Bey, Girl in a Deli Door­ way, Brooklyn, NY, 1989. Gelatin sil­ ver print, 14 x 11” $300

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En Foco Membership: □ $45 for U.S. and Puerto Rico. Membership includes eligibility for the New Works Photog­ raphy Award (for photographers of African, Asian, Latino, Native American and Pacific Islander heritage), entry to the Slide Registry, portfolio reviews, a subscription to Nueva Luz, and invitations to special events.

Donations/Challenge Grant Match: □ $500 □ $250 □ $ other Print Collector’s Program: □ $300 □ $400 Print Selection(s):

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