Nueva Luz Vol 7 Issue 3

NUEVA LUZ photographic journal

Volume 7 No. 3 - US. $7.00 0 3>

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74470 92723

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In This Issue: •Adrienne Odom • Orville Robertson • Edwine Seymour • New Works Deadline

NUEVA LUZ photographic journal Volume 7:3

NUEVA LUZ STAFF Publisher & Editor Charles Biasiny-Rivera Associate Editor Betty Wilde-Biasiny Managing Editor Miriam Romais Production Coordinator Daniel Schmeichler

NATIONAL ENDOWMENT FOR THE ARTS

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Advertising Marisol Diaz Copy Editor Heidi Leigh Johansen Translator Dina Bursztyn

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Executive Director Managing Director

BOARD OF ADVISORS Nadema Agard Millie Burns Ricky Flores Nitza Luna Sandra Perez Sophie Rivera Mel Rosenthal Cheryl Younger

State of the Arts

EN FOCO STAFF

Charles Biasiny-Rivera

BOARD OF DIRECTORS Angela Cabrera Betty Wilde-Biasiny Pedro Morales Charles Biasiny-Rivera Frank Gimpaya

NYSCA

Miriam Romais Program Coordinator

DISTRIBUTORS Ubiquity Distributors, Inc. 718/789-3137 Bernhard DeBoer, Inc. 973/667-9300 Desert Moon Periodicals 505/479-6311 Armadillo & Co. 800/499-7674

Marisol Diaz Production Coordinator Daniel Schmeichler Design, Frank Gimpaya

NEW YORK FOUNDATION FOR THE ARTS

PRINTING Eastwood Litho, Inc. 315/437-2626

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.

This issue of Nueva Luz is made possible through the New York City Department of Cultural Affairs, the National Endowment for the Arts and the New York State Council on the Arts. En Foco is also funded by the New York City Department of Cultural Affairs and the Bronx Borough President Adolfo Carrion Jr./Bronx City Council, the New York Foundation for the Arts' Community Assets, David Rockefeller Jr., the Association of Hispanic Arts/Chase Smarts Grant, Citibank, North Fork Bank, Ilford Imaging USA, Lowepro, Bogen, Tiffen, Print File and En Foco members and friends.

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. Photographers wishing to submit work to Nueva Luz, are encouraged to view several past issues before submitting port­ folios of 20 unmounted prints or slides for consideration. If mailed, the prints must be no larger than 11" x 14". 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.

Editorial I

t's not too early in the year to begin thinking of that new portfolio you want to start working on. But where to begin is often the greatest challenge. You might have received a nice bit of shiny new equipment and can't wait to put it to use - or maybe you've been think足 ing of trying a new direction with your imagemaking activities. Well, you've come to the right place.

Encouraged by all the kitsch left over from the holidays, I thought of producing "Charlie's Handy Dandy Inspirational Artist Kit," guaranteed to generate authentic and original concepts for the idea-starved artist. It comes in a variety of colors, easily transported and only $19.95.

The kit contains a simple 8x10" mirror, two kitchen candles, three incense sticks, a book of matches, a 5x7" paper pad with a #2 pencil, along with an order form for the secret bilingual incantation that will most assuredly bring forth the ideas you thirst for. It will clear away the fog of doubt and clarify the steps you must take to achieve the state of higher perception that you've always known was possible. The secret bilingual incanta足 tion is priceless.

How's that for wish fulfillment? It seems that photography has always been an easy medium to master.

It became a giant industry because the technology made it so simple. Buy this, read that, imitate the successful few and, behold: fame and fortune await.

Coming face to face with the hardcore you is probably the hardest and most difficult task you'll encounter. If things are going hunky-dory then you don't have to read further. But if you're involved with the cre足 ation of your art, the source of your inspiration, finding your uniqueness and making visible your struggle to stay true to all the things you hold most valuable, then invent your own kit and write your own secret incantation using the language that is recognized by your soul.

No es demasiado temprano para empezar a pensar en que nuevo portafolio quisieras comenzar a trabajar este ano; pero a menudo el gran desaffo es saber por donde empezar. Tal vez has recibido algo nuevo y reluciente que estas impaciente por usar - o quizas has estado pensando en intentar una nueva direccion en la creacion de tus imagenes. Bueno, estas en el sitio apropiado. Alentado por las sobras kitsch que quedaron de las fiestas pense en producir el "Kit Practico de Charlie para Inspirar a Artistas," garantizado para generar conceptos autenticos y originales para el artista hambriento de ideas. Viene en una variedad de colores, de facil trans足 pose y solo por $19.95.

El kit contiene un espejo simple 8x10", dos velas de cocina, tres varillas de incienso, un librito de fosforos, un bloc de notas y un lapiz #2, junto a un conjuro secreto y bilingiie asegurado para traerte las ideas que estas anhelando. Va a aclarar la neblina de tus dudas y clarificara los pasos que tienes que dar para alcanzar el estado de una percepcion mas elevada que siempre supiste que era posible. El conjuro secreto y bilingiie no tiene precio. ^Que tal esta idea para satisfacer los deseos?

Pareciera que la fotograffa siempre ha sido un medio facil de dominar. Se convirtio en una industria gigantesca porque la tecnologia la hizo tan simple. Compra esto, lee aquello, imita a los pocos que tienen exito y he aqui que la fama y la fortuna te esperan.

Confrontarte cara a cara con el ser que eres en realidad es posiblemente la tarea mas diffcil de la vida. Si todo marcha sobre ruedas, no tienes que seguir leyendo esto. Pero si estas envuelto en la creacion de tu arte, en la fuente de tu inspiracion, en encontrar tu originalidad y en hacer visible tu lucha por mantenerte leal a tus valores, entonces inventa tu propio kit y escribe tu propio conjuro en el lenguaje que tu alma reconoce.

Charles Biasiny-Rivera Editor

Table Editorial .............................

Adrienne Odom ................

Orville Robertson ..............

Edwine Seymour ...............

Commentary by Jo Leggett Comentario ........................

Critical Mass Newsletter .., Advertising .......................

of Contents page 1 page 2-11 page 12-21 page 22-31 page 32 page 33 page 34-39 page 40-44

Cover photograph: Orville Robertson, Community Garden, East Village, 2000. Gelatin Silver Print, 20 x 16"

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Adrienne Odom Portrait not available

Adrienne Odom was bom in Detroit, Michigan, where she currently resides. Odom studied at the Detroit Institute of Arts, the Center for Creative Studies College of Art and Design, also in Detroit, and at the International Center for Photography in New York City.

Odom's exhibitions include the Detroit Institute of Art, G.R.N'Namdi Gallery and the Detroit Artist Market, all in Detroit, MI; Troy Design Center, Troy, MI; and the Anacostia Museum/Smithsonian Institution, in Washington, DC. She has been awarded grants from the University Cultural Center Association in 2001, and the Detroit Council of the Arts, 1985-87.

Remaking Harlem is a process of discovery that charts my quest to uncover the obscured histories of Harlem. Utilizing historical texts, quotes by notable writers, current writings and personal experiences, helps me forge a link between past, present and future. This allows me to incorporate themes like time, perception, renewal and migration while exploring how America has dealt with its internal issues of com­ munity, economy and race.

When I started this project, many places of historical significance had never been recognized as landmarks and were in neglect. It seemed as though Harlem had been left for dead in the economic sense.

Slumlords had let their properties sit vacant and rotting for over a decade.

In 1997 major funding was acquired to implement an empowerment zone slated for Harlem.

Major renovation of commercial and residential areas began. Many changes have come about since then and the question remains: Who will benefit from the remaking of Harlem?

"I was staggered when old-timer Harlemites told me that while this immigrant musical chairs had been going on, Negroes had been in New York since 1683.

They had first been in the Wall Street area; then they were pushed into Greenwich Village. The next shove was up to the Pennsylvania Station area, and then the last stop was Harlem... in a short time, Harlem was like it still is today - virtually all Black."

Excerpt from An Autobiography of Malcolm X

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Adrienne Odom Stoop, Mt. Morris Park, Remaking Harlem series, 1997. Giclee Print, 30 x 40".

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Adrienne Odom Small's Paradise, Remaking Harlem series, 2000. Giclee Print, 30 x 40".

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Adrienne Odom Dunbar Apartments, Remaking Harlem series, 1997. Giclee Print, 30 x 40".

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Adrienne Odom Strivers Row, Remaking Harlem series, 1998. Giclee Print, 30 x 40".

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Adrienne Odom Renovation, Remaking Harlem series, 2000. Giclee Print, 30 x 40".

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Adrienne Odom Three Houses, Remaking Harlem series, 2001. Giclee Print, 30 x 40".

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Adrienne Odom Abysinnian Baptist Church, Remaking Harlem series, 1997. Giclee Print, 30 x 40".

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Adrienne Odom Convent Avenue, Remaking Harlem series, 2000. Giclee Print, 30 x 40".

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Adrienne Odom Ten Million Bricks, Remaking Harlem series, 2000. Gidee Print, 30 x 40".

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Orville Robertson

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Orville Robertson, a self-taught photographer, was bom in Jamaica and currently resides in Long Island City, New York. He received an A.A.S. degree in Aerospace Technology in 1977 from the State University of New York.

Robertson's exhibitions include the Schomburg Center for Research in Black Culture, the Brooklyn Museum, 4th Street Photo Gallery, the Midtown Y Photography Gallery, Soho Photo Gallery, Mary Anthony Galleries, and the Museum of the City of New York, all in New York; the Anacostia Museum/Smithsonian Institution and Kathleen Ewing Gallery, Washington, DC; Amon Carter Museum, TX; Gallery Mistral, Canada; Narodru Muzeum, Czech Republic; and many others.

He has participated in many panel discussions, and been a reviewer at FotoFest in Texas, Photo Americas in Oregon, and Parsons School of Design in New York. He has also lectured at New York University and the Southeast Museum of Photography in Florida. Robertson is the founder, publisher and editor of the photography journal Fotophile since 1993.

My images are defined by the simple aesthetic of balancing a child's curiosity and informality with an adult's need for structure and meaning.

Street photography possesses a wonderful energy. Passersby and their self-made worlds create dynamic relationships that are continuously changing before and after I have captured a part of this on film.

How I photograph these scenes reflects who I am, where I have been, and where I am headed. I love being a photographer.

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Orville Robertson 808 Broadway, The City Revealed series, 1998. Gelatin Silver Print, 20 x 16".

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Orville Robertson Rollerblader, Broadway and 18th Street, The City Revealed series, 1997. Gelatin Silver Print, 16 x 20".

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Orville Robertson Before Meeting my Friend Kay Kenny, Union Square Park, The City Revealed series, 2001. Gelatin Silver Print, 16 x 20".

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0 Orville Robertson East Houston and Bowery, The City Revealed series, 2001. Gelatin Silver Print, 20 x 16".

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Orville Robertson East Uth Street Near Broadway, The City Revealed series, 2001. Gelatin Silver Print, 20 x 16".

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Orville Robertson Old St. Patrick's Cathedral, Prince Street, The City Revealed series, 2000. Gelatin Silver Print, 20 x 16".

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Orville Robertson Gaseteria, East Houston and Lafayette, The City Revealed series, 2001. Gelatin Silver Print, 16 x 20".

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Orville Robertson Near Chatham Square, Chinatown, The City Revealed series, 2001. Gelatin Silver Print, 20 x 16".

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Orville Robertson Couple Sharing a Secret, Fanelli Cafe', Prince and Mercer, The City Revealed series, 1992. Gelatin Silver Print, 16 x 20".

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Edwine Seymour

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Edwine Seymour was bom in Haiti and currently resides in Brooklyn, New York. In 1997 Seymour received a BFA in Photography from Parsons School of Art and Design in New York. His awards include the New York Foundation for the Arts Individual Artist Fellowship in 1998, a Marty Forscher Fellowship Award in 1999, and an En Foco's 2000 New Works Photography Award.

Seymour is a freelance photographer for The New York Times, The Daily News, The Village Voice, Newsday, Haiti Observateur; and a photographer for SYGMA and Impact Visuals photo agencies.

Seymour's exhibitions include the Lehman Art Gallery and En Foco at the Bronx River Art Center, Bronx, NY; John Jay Gallery, the City College Gallery, Gallery Taranto, Clemente Soto Velez Cultural Center, and Parsons School of Art and Design, all in New York.

Since childhood I have been fascinated with photography and its ability to capture life. Recording the candid moment: at once visually intimate, personal and able to capture the honesty of lived reality.

As a Haitian photographer, presenting the personal is crucial to my work, an element that often lacks in the media. In my photographic journey I try to bring forth the integrity, depths of spirituality, mystic elements and cultural nuances of a religion that has been part of our cultural heritage for thou­ sands of years.

It has a direct relevance to larger population groups and events outside of Haiti, part of larger transnational media and social links that resist static forms of representation. While not claiming an essen­ tial link I find the insider's point of view a necessary step in the process of a people telling their story.

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Edwine Seymour Trance, Plaine-du-Nord, Haiti, 1997. Gelatin Silver Print, 11 x 14".

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Edwine Seymour Calvaire Miracle, Gratitier, Haiti, 2000. Gelatin Silver Print, 11 x 14".

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Edwine Seymour Church of Miraculous Virgin, Ville Bonheur, Haiti, 1998. Gelatin Silver Print, 14 x 11".

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Edwine Seymour Possessed by Erzulie, Saut-D'eau, Haiti, 1997. Gelatin Silver Print, 10 x 10".

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Edwine Seymour Pilgrims in Saut-D'eau Falls, Haiti, 1997. Gelatin Silver Print, 11 x 14".

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Edwine Seymour Homage to Ogouti, Plain-du-Nord, Haiti, 1998. Gelatin Silver Print, 11 x 14".

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Edwine Seymour Saut-D'eau, The Magical Water, Ville Bonheur, Haiti, 1998. Gelatin Silver Print, 13 x 9".

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Edwine Seymour Possessed by Erzulie, Souvenance, Haiti, 2000. Gelatin Silver Print, 14 x 11".

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Edwine Seymour Girl with Candle, Plaine-du-Nord, Haiti, 1997. Gelatin Silver Print, 11 x 14".

Nueva Luz 3 I

commentary 'the conversations and writing regarding documentary photography continue to fascinate and provoke. Documentary practices and their results have always been near and dear to my heart so it is a conundrum I follow closely and often. I have found myself imagining a time capsule filled with documentary images of, say, the year 2000. If, in the year 3000, the only evidence of life is that time capsule, what would the discovering beings assume by looking at its contents?

There is one statement about images produced through photographic means that I hold as my core: cameras do not make pictures, people do. Accepting that premise, documentary pho­ tography can never be purely objective. Photographers, by choos­ ing when to expose a frame of film, are imprinting their own interpretation of the scene before them.The three photographers featured in this issue of Nueva Luz approach their subject matter differently. Edwine Seymour and Adrienne Odom explore their chosen areas to a particular end. Orville Robertson makes photo­ graphs for the sheer pleasure it gives him.

Ruth Bernhard is often quoted as having said something to the effect that if you can't photograph in your own backyard, forget it! New York City is Orville Robertson's back yard and he is a wanderer extraordinaire, always with his camera. Over the years, he has sharpened his eye, put an edge on seeing more and more in what is before him, then captured that which has caught his eye in a very precise manner. In his statement, he says that he loves being a photographer. Looking at the images, that is abun­ dantly clear, but more than that, the images are a joy to see.

In 808 Broadway, beautiful lines and shapes provide a frame set for a man, perhaps a doorman, perhaps not, although his stance evokes what is a stereotypical pose often associated with doormen: alert, aware, at service. Backlit yet not in silhou­ ette, encased in a chaotic web of art deco lines accented with wood, metal, and glass, this man is a puzzlement. We know noth­ ing of him other than his presence in this scene but curiosity aris­ es: is he jailed? is he happy or content? is he bored? The viewer decides. What is clear is that this scene seized Robertson's atten­ tion and propelled him to trip the shutter, record on film, and then exquisitely render a print that must have been quite a chal­ lenge. When he feels this work is finished, and I suspect it will only be when he starts repeating himself, finds that he is photo­ graphing the same scenes repeatedly. Then, there will be one hell of a document of New York City, through his eyes.

of the country. Respectful and unobtrusive, he moves among the pilgrims as they summon the spirits through singing, dancing, and drumming. Should the spirit being celebrated agree to par­ ticipate, it rides the devotee for a short period of time during which messages are given to the community.

Seymour's photographs speak about Vodou and those who practice it. Images inform about the marriage of Vodou and Catholicism in religious practices, cleansing ceremonies, the wearing of white as a symbol of purity, and individuals experi­ encing possession by a spirit. This is a huge subject, one Seymour hopes to publish in book form in partnership with Carline Viergelin, an anthropologist who has done extensive research on Vodou practice. This promises to be quite a book and I hope it comes to fruition. Meanwhile, piqued myself, I did some web research and offer this site for some basic information: http: / / www.peak.sfu.ca / the-peak / 98-3 / issuel / santeria.html Adrienne Odom pursues her search for Harlem land­ marks, their histories, stories, and names often obscured by time and limited inclusion in more general histories of New York. The images recorded give pause because of their quiet beauty. Not quite nostalgic and certainly not reminiscent of traditional docu­ mentary images, they suggest these buildings one time had pow­ erful relevance and the pictures tease with their mostly unknown stories. She exhibits the work with accompanying text, not included in this portfolio presentation.

But let me tell you there are wonderful stories here — and they aren't happy ones. Rockefeller's involvement with the Dunbar Apartments, and the remarkable people who lived there at one time or another, what happened to and at Small's Paradise, the subway story, the Abysinnian Baptist Church and where and how it begun, who lived where when the Dutch colonized New York and brought with them their slaves, and how Wall Street got its name. These images beg you to seek the stories and, hopeful­ ly, you will see them and their stories in a future book.

Writing this commentary has been an illuminating expe­ rience. Living with these images whetted my appetite for more information, which I sought and found if only in an elementary way. What more can we ask from documentary photography than to be informed and want to know more? As Billie Dawn said in Born Yesterday, "Look it up."

Edwine Seymour is Haitian although he now lives in New York City. Obviously, Haiti is his backyard. While growing up in Haiti, he saw Vodou practices and developed his com­ pelling curiosity leading him to return seven times beginning in 1997 to follow the Vodou pilgrimages that occur in different parts

Jo Leggett is a photographer, writer, consultant, and publisher of photo metro magazine. Based in San Fransisco, California, she has been passionately and devotedly involved with photography since 1974. Her work is in the collections at The Carnegie Museum of Art, Museum of Photographic Arts, Biblioteque Nationale, Musee de Photographie, Charleroi, and the Allegheny Museum of Art.

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comentario L

as conversaciones y los textos sobre la fotografia doc­ umental continuan fascinando y provocando. Las practicas documentales han estado siempre cerca de mi corazon y por lo tanto son acertijos a los que presto atencion a menudo. A veces me encuentro imaginando una capsula de tiempo llena de imagenes documentales, digamos del ano 2000, y si en el ano 3000 la unica evidencia de la vida fuera esa capsula de tiempo ^que asumirian sobre su contenido los seres que la descubrieran?.

Existe una perspectiva sobre las imagenes creadas por medios fotograficos que yo considero esencial: las camaras no crean fotos, la gente si. Si aceptamos esta premisa, la fotografia documental nunca puede ser puramente objetiva. Los fotografos, al elegir cuando tomar una foto, imprimen su propia interpretacion de la escena que tienen delante. Los tres fotografos presentados en este numero de Nueva Luz tratan el material que fotografian desde diferentes angulos. Edwine Seymour y Adrienne Odom exploran las areas que escogieron con objetivos particulares. Orville Robertson toma fotografias por el solo plac­ er que esta actividad le brinda.

Ruth Bernhard es citada a menudo por haber dicho algo asi como: si no puedes fotografiar en el fondo de tu casa, entonces olvidalo. La ciudad de Nueva York es el "fondo" de Orville Robertson y es un explorador extraordinario, (siempre con su camara), quien a lo largo de los anos ha afilado la vista para poder ver cada vez mas y mas. Al escribir sobre su propio trabajo dice que le apasiona ser fotografo, algo que queda absolutamente claro al ver sus imagenes, las que ademas son un puro gusto para los ojos.

En "808 Broadway" lineas y formas bellas proveen un marco para un hombre, tal vez un portero, tal vez no, aunque su postura evoca una pose estereotipada que a menudo se asocia con los porteros : alerta, despierto, servicial. Con luz de fondo, aunque sin llegar a ser una silueta, recubierto por una maraha caotica de lineas de Arte Deco acentuadas con madera, metal y vidrio, este hombre provoca desconcierto. Aparte de su presencia en esta escena, no sabemos nada de el, sin embargo nos despierta la curiosidad; ^esta preso?; i esta feliz o contento?; ^esta aburrido?. La decision depende de quien vea la foto. Lo que esta claro es que esta escena capturo la atencion de Robertson y lo propulso para que apretara el disparador, regis­ trar la pelicula y exquisitamente imprimiera esta foto que debio haber sido todo un logro conseguir. Cuando Robertson sienta que su trabajo esta terminado, y sospecho que esto sucedera cuando empiece a repetirse a si mismo, fotografiando la misma imagen varias veces, entonces va a haber un sensacional documento de la ciudad de Nueva York, a traves de sus ojos.

del pais. Respetuosamente y sin obstruir, se mueve entre los peregrinos mientras invocan a los espiritus a traves del canto, la danza y el tocar de los tambores. Si el espiritu celebrado desea participar, entonces se monta sobre un devoto por un corto tiem­ po mientras trasmite mensajes a la comunidad.

Las fotografias de Seymour hablan sobre el Vudu y de quienes lo practican; las imagenes informan sobre el matrimonio del Vudu y las practicas religiosas del catolicismo, de las ceremonias de limpieza, del uso del color bianco como simbolo de pureza y de la gente que experimenta ser poseida por los espiri­ tus. Este es un tema enorme, sobre el que Seymour espera poder publicar un libro en colaboracion con Carline Viergelin, una antropologa que ha investigado extensamente las practicas del Vudu. Promete ser un libro magnifico y espero se haga realidad.

Mientras tanto, picada por la curiosidad, me puse a explorar en Internet y ofrezco este sitio para informacion basica: http: / / www.peak.sfu.ca/ the-peak / 98-3 / issuel / santeria.html Adrienne Odom esta en una busqueda de sitios historicos en Harlem, sus historias, relatos y nombres, a menudo oscurecidos por el tiempo y por su limitada inclusion en las his­ torias mas generales de Nueva York. Las imagenes registradas ofrecen una pausa a raiz de su silenciosa belleza. No del todo nostalgicas, y por cierto sin relacion con las imagenes documen­ tales tradicionales, sugieren la importante relevancia que estos edificios tuvieron alguna vez y estas imagenes intrigan con sus historias, desconocidas en su mayor parte. Ella las exhibe acornpanadas de textos, los que no van incluidos en la presentacion de este portafolio.

Pero permitanme decides que aqui hay historias cautivantes, que no son felices. El papel que jugo Rockefeller en los Apartamentos Dunbar y las personas excepcionales que vivieron ahi en uno u otro momento, que le paso y que paso en Small's Paradise, la historia del Metro, donde y como empezo la Iglesia Bautista Abisinia, quienes vivian y donde cuando los holandeses colonizaron Nueva York trayendo a los esclavos consigo, y por que Wall Street se llama asi. Estas imagenes te piden que busques sus historias y esperemos que las encuentres junto a las imagenes, en un futuro libro.

Escribir este comentario ha sido una experiencia iluminadora. Vivir con estas imagenes me ha despertado el apetito por mas informacion, la que busque y encontre solo de una manera elemental. ^Que mas podemos pedir de la fotografia documen­ tal, que nos informe y que nos haga querer saber mas?. Como lo dijo Billie Dawn en Born Yesterday "Averigua de que se trata" .

Edwine Seymour es haitiano aunque ahora vive en la ciudad de Nueva York. Obviamente Haiti es su "fondo" y mien­ tras se criaba en Haiti vio practicas de Vudu que cautivaron su curiosidad, llevandolo a regresar siete veces desde 1977 para seguir los peregrinajes del Vudu que ocurren en diferentes partes

Jo Leggett es fotografa, autora, consultante y publicadora de la revista fotografica photometro basada en San Fransisco, California. Ella ha estado involucrada de manera apasionada con la fotografia desde 1974. Su obra se encuentra en las colecciones del Museo Carnegie de Arte, el Museo de Artes Fotograficas, Biblioteque Nationale, Musee de Photographie, Charleroi, y el Museo de Arte de Allegheny .

Nueva Luz 33

CRITICAL NASS A Leading Resource for Photographers

Winter/Spring 2002

© Rosey Truong, Loss Changes Everything, Tracing Viet Nam series, 2001. Gelatin silver print, 20x24". Truong, one of the winners of En Foco's 2001 New Works Awards program, will be exhibited by En Foco later this year.

For the past year, En Foco's staff has been tackling some basic, yet crucial issues.

Many small non-profits face the financial uncertainty of what the upcoming funding year will bring, yet I keep going back to what our development consultant told us: stop call­ ing yourselves a small Organization! And she is so right.

When I think about all we've accom­ plished (which also makes me realize this year marks my tenth with En Foco), I have to sit down. There is no way a 'small' organiza­ tion can pull off a huge color publication with an entire staff of four plus volunteers, while continuing to work on traveling exhibitions, portfolio reviews, a photography award pro­ gram, aggressive promotion of its magazine, expansion of its website, while also creating a five-year plan—all this on a budget that 34 Nueva Luz

comes to much less than one person's dot com salary. Yet this is exactly what we've done.

Successfully, I might add, thanks to a very committed team.

What does the future hold for us?

Great photography. The ability to adapt to changes. The acceptance that change can be a good thing. Take this issue for example. If you have made it this far into the magazine, you've obviously realized that we're back to black and white—but with an updated look.

We've created a more stable publica­ tion schedule, placed even more emphasis on imagery, added four pages, found a great new translator, have a modest amount of advertis­ ing, and are implementing some of your sug­ gestions over the next several issues.

So regardless of any dreaded changes in the funding year, we are confident the forecasted economic storm can be weath­ ered. We are not small. We are a strong, vibrant Organization, rich in history, and backed with unquestionable support from the photographic and art community. And that my friends, is a great way to start the new year.

Miriam Romais Managing Editor

EN FOCO'S 2002 NEW WORKS DEADLINE APRIL 9 Open to photographers of African, Asian, Latino, Native American, Pacific Islander and Aleutian heritage, to create or

complete in-depth, photographic work which explores themes emanating from their person­ al experiences, in any style and/or genre (documentary, autobiographical, landscape, abstract, digital, pinhole, alternative process­ es, etc).

The purpose of this award is to pro­ vide a context for photography which is empowering, while asserting its importance and significance to the art world. Since 1974 En Foco has provided a vital source of images and cultural awareness, with an array of serv­ ices and support that has nurtured talented photographers of diverse cultures.

The DEADLINE is APRIL 9th, 2002 (postmark) and notifications will be made by June 1st. Materials will only be returned if a self-addressed envelope with sufficient postage is provided. Four photographers will be selected to receive an honorarium, photo­ graphic supplies (varies according to funding year), technical assistance and a culminating group exhibition in the New York area, and/or publication in Nueva Luz photograph­ ic journal.

1. Your work must address issues that are rel­ evant to your personal experience.

Photographic imagery should contain a cul­ tural consciousness that is grounded in iden­ tity and the search for a personal statement.

This is open to your interpretation!

2. You may submit any photo-based work for a new project idea, or work in progress.

Decisions will be based upon quality of images submitted and ability to complete the proposed project by December 1, 2002.

3. The final portfolio must consist of 16-20 matted exhibition quality images. Exhibition venue is determined after the work is com­ pleted; payment of the ($400) honorarium is made at this time.

4. Applicants are encouraged to become En Foco members at time of submission.* 5. Applicants must be U.S. citizens, green card holders or permanent U.S. residents, of Latino, African, Asian, Native American, Pacific Islander or Aleutian heritage.

6. Undergraduate students are not eligible.

Must be at least 18 to participate.

postage will not be returned.

6. ^Members, free. Non-members should sub­ mit a check for $10 processing fee, OR, for those wishing to become members, submit $45 which includes a subscription to Nueva Luz photographic journal, placement in the Slide Registry, Portfolio Reviews and invita­ tions to all En Foco events (memberships are tax-deductible).

7. Submit the above information to: En Foco, Inc. Attn: New Works, 32 East Kingsbridge Road, Bronx, NY 10468 tel & fax: 718/5847718 info@enfoco.org www.enfoco.org

Kervin Maule, at the New York Public Library/Fordham Center Branch, 2556 Bainbridge Avenue, Bronx, NY 10458.

718/579-4244. March 20 - May 1.

Sung Kwan Ma, Tibet, at The Point Gallery, 940 Garrison Avenue, Bronx, NY 10474. 718/542-4139. April 17-May 20.

HELP FROM NYFA With the current state of events that have per­ manently altered the cultural fabric of New York, it seems important to share information that may help those affected by the September 11th disaster. Our sympathies are with those that suffered from the tragedy. The New York Foundation for the Arts has been instrumen­ tal in compiling this information, so for more detailed lists please consult 212/366-6900. www.nyfa.org/9-ll.htm The Wheeler Foundation, provides emergency grants to visual artists of color living in NY, NJ and CT. Grants must meet urgent financial needs involving housing, medical, fire and flood damage. The Wheeler Foundation, POBox 300507, Brooklyn, NY 11230. 718/9510581.

Artists Fellowship Inc, provides financial assis­ tance to professional artists in the event of ill­ ness, distress, disability or bereavement. Send an SASE to Artists Fellowships, 47 Fifth Avenue, New York, NY 10003.

Change, Inc. provides emergency grants of up to $1,000 for U.S. professional artists of all dis­ ciplines. Change, POBox 54, Captiva, FL 33924. 212/473-3742.

Starvingartistlaw.com provides online resources for artists needing self-help legal information, such as copyrights, trademarks and First Amendment rights, www.starvingartistlaw.com ✓ OF NOTE

PLEASE SEND: 1. A one page written description/statement about your project. Describe specific aspects such as subject matter, context, content, loca­ tion and philosophical issues as applicable.

2. A one-page biography and/or resume.

3. Slides (15 to 20) labeled with your name, title of image/series, year, size and medium.

Inkjet prints are also acceptable.

4. A cover letter including your name, address, title of project, phone number, email.

5. A self-addressed envelope with enough postage for the safe return of your materials.

Members may indicate if slides are to be placed in the Photographer's Slide Registry.

Slides received without sufficient return

EN FOCO'S TOURING GALLERY EXHIBITION SCHEDULE:

There is a new home for the grant formerly known as the Mother Jones International Fund for Documentary Photography: FiftyCrows Foundation. Their letterhead explains: "Crow is an omen of change, and it is said that crow medicine indi­ cates a need to pause and reflect on how we see the laws of the universe in relation to the laws of humanity. With crow medicine, one must speak in a powerful voice when addressing issues that seem out of harmony, out of balance, or unjust. Crow assists one in walking your talk, speaking your truth, knowing your life's mission and balancing the past, present and future in the now.

Fiftycrows Foundation hopes to inspire and remind us all of the secrets of balance and cre­ ativity within ourselves as we persevere on a path of compassion and peace." For more information, contact them at 1074 Folsom Street, San Francisco, CA 94103. 415/5510091. www.fiftycrows.org OPPORTUNITIES COMPETITIONS Re-Figured, a national exhibition juried by Salvatore Scalora, Director, William Benton Museum of Art, CT. Cash awards, $25/3 slides, 40% commission. For entry form con­ tact South Shore Art Center, 119 Ripley Road, Cohasset, MA 02025.

781/383-2787.

Deadline: March 14. www.ssac.org 53rd Art of the Northeast USA, exhibition to take place in May-June. Juror is Ann Temkin, Curator of Modern and Contemporary Art, Philadelphia Museum of Art, PA. Fee $20; awards from $4,000-8,000; open to residents of CT, MA, ME, NH, NJ, NY, PA, RI, VT. For guidelines send an SASE to Silvermine Guild Arts Center, attn: AONE, Dept. FYI, 1037 Silvermine Road, New Canaan, CT 06840.

203/966-9700. Deadline: March 22. www.silvermineart.org 45th Chautauqua National Exhibition of American Art, to take place in June. Juror is Robert Storr, Curator, Museum of Modem Art, NY; purchase prize and cash awards; fee is $30/3 slides. For guidelines send a SASE to Chautauqua National, CCVA, Box 999, Chautauqua, NY 14722. Deadline: March 1. www.mainalley.com/ccva/national.

2002 National Photography Competition. Open to all US residents 18 years of age or older, no subject limitation. Juror will be W. M. Hunt, Director of Photography at the Ricco/Maresca Gallery in New York City. Fee is $25.00/5 slides, $7.50/each additional.

Chosen artist will receive a solo exhibition and a cash award of $250.00. Other finalists will participate in a group show. Send a SASE for guidelines to: 2002 National Photography Competition, Camera Club of New York, 853 Broadway, New York, NY 10003. Deadline: Nueva Luz 35

June 15. www.cameraclubofnewyork.org Through the Lens of September 11, an exhibition at Soho Photo, juror Marianne Frisch, inde­ pendent curator. Fee $25/3 slides, $5/each additional. For prospectus send an SASE to 911 Exhibition, Soho Photo Gallery, 15 White Street, New York, NY 10013. Deadline: May 18. www.sohophoto.com Phoenix Gallery seeks entries in all media for a national juried competition to be held June 19-July 13. For a prospectus, send an SASE to Phoenix Gallery, 568 Broadway, New York, NY 10012. info@phoenix-gallery.com.

Deadline: March 31.

National Juried Print Exhibition to take place on April 20-May 31. Juror is Joseph Jacobs, Curator of American Art, Newark Museum, NJ. $25/3 slides, $5/each additional; 30% tax deductible contribution requested. For guide­ lines contact National Print 2002, Sumei

Multidisciplinary Arts, 19 Liberty Street, Newark, NJ 07102. 973/643-7883. Deadline: March 2.

Long Beach Island Foundation of the Arts and Sciences seeks entries for a national juried competition to be held July 10-31. For a prospectus, send an S.A.S.E. to Long Beach Island Foundation of the Arts and Sciences, 120 Long Beach Boulevard, Loveladies, NJ 08008. office@LBIFoundation.org Deadline: April 12.

Third Annual Photography Competition and Fellowship Award is open to all serious emerging and mid-career photographers. For guidelines, contact the Silver Eye Center for Photography, 1015 East Carson Street, Pittsburgh, PA 15203. 412/431-1810.

Deadline: March 22. www.silvereye.org PhotoNational exhibition to take place August

- September. Juror is Therese Mulligan, Curator of Photography, George Eastman House. Fee is $25/3 slides. For guidelines contact Lancaster Museum of Art, 135 North Lime Street, Lancaster, PA 17602. Deadline: April 12.

Midwest Photography Invitational XII, a nation­ al touring exhibition. Fee $30/6 slides, 30% commission. For guidelines contact Stephen Perkins, Curator of Art, Theatre Hall 311, University of Wisconsin, 2420 Nicolet Drive, Green Bay, WI 54311-7001. Deadline: April 9.

To Your Credit, a juried exhibition to be held in spring 2002, is open to artists working in any medium in New Mexico, Arizona, California, Nevada, Utah, Colorado, Texas, Oklahoma and Chihuahua, Mexico. Each 2-D work must be the exact dimensions of a standard credit card; no frames or mats are permitted. For guidelines contact Art Dept., ENMU-R, P.O.

© Lisa Jong-Soon Goodlin, Are You My Mother?, 2001. Dye Sublimation print, 11x14".

"In my work until now I have dealt with identity and culture only indirectly... In this new serie sof photography-based digi­ tal collage I address directly issues of personal and cultural identity. Images in this series combine family photographs with traditional Asian objects and designs to produce a narrative of family, culture and identity. Many of the images pose or sug­ gest questions: What does it mean to fear one's Asianness? What does it mean to be adopted? If Korea's culture were more Buddhist than Confucian, would so many children have been abandoned or relinquished?"

Lisa Jong-Soon Goodlin about her work in progress for En Foco's 2001 New Works Award

36 Nueva Luz

Box 6000, Roswell, NM 88202. 505/624-7226.

Jennie.Bower@roswell.enmu.edu. Deadline: March 9.

EXHIBITION OPPORTUNITIES Hallzvalls is reviewing work in all media for solo and group exhibitions, as well as propos­ als by artists and independent curators for guest-curated exhibitions. Submit up to 20 slides, resume, artist statement, preview tapes and proposals if needed, and a SASE. For more information contact Visual Arts Director, Hallwalls Contemporary Arts Center, 2495 Main Street, #425, Buffalo, NY 14214. 716/835-7362. Hallwall@pce.net HCC Arts Gallery is reviewing slides for possi­ ble exhibition. Send 10-20 labeled slides of work completed within the past five years, resume, artist statement, reviews and a SASE to Elisa Pritzker, Gallery Director, HCC Arts Gallery, POBox 851 Highland, NY 12528.

845/691-6008. www.hcc-arts.org Azarian-McCullough Art Gallery reviewing works for their 2002-2003 exhibition season.

Write or email for guidelines. Contact G. Murray, Director, Azarian-McCullough Art Gallery, 125 Route 130, Sparkill, NY 10976.

Deadline: March 1. gmurray@aol.com Brownson Gallery seeks entries in all media for solo and 2-person exhibitions for the fall 2002 to spring 2003 seasons. Send 15 slides of cur­ rent work, resume, and an SASE to the Exhibition Committee, Brownson Gallery, Manhattanville College, 2900 Purchase Street, Purchase, NY 10577. Deadline: March 15.

Gallery 214 seeks exhibitions shows of varying themes for its new space. For guidelines send an SASE to Makeready Press Gallery, 416 Bloomfield Avenue, Montclair, NJ 07042.

973/744-1940.

Allegheny College Department of Art seeks work in all media for Animals in Art, to be exhibited in the Fall. Send 6-20 slides, support materials and SASE to Art Gallery, Allegheny College, Box U, Meadville, PA 16335. 814-332-3383.

Deadline: March 1.

Dupreau Gallery is reviewing submissions for the 2002 season. Please send slides, video­ tapes, CD-ROMs, or photos, resume, brief statement and SASE to Donald Schmaltz, Dupreau Gallery, 4229 North Lincoln Avenue, Chicago, IL 60618. dupreaugallery@cs.com.

HotHouse Gallery is accepting submissions for exhibitions, preferably experimental or multimedia. Send proposals for installations or exhibits, slides, photographs or other sam­ ples of work, and SASE to Megan McDowell, HotHouse, 31 East Balbo, Chicago, IL 60605.

312/362-9707. hot21@msn.com.

Craft Emergency Relief Fund (CERF) is review­ ing work by local and international artists for a benefit exhibition to assist artists devastated by the September 11th tragedy. Send a sheet of labeled slides, resume, reviews, and SASE to: Nicole Aimiee Macaluso, The New Venue Arts, POBox 1937, Chicago, IL 60690-1937.

Deadline: April 1. announce@chicagoart.net Sinclair Community College is reviewing pro­ posals for their 2002 season. Please send 10 slides, slide list, resume, artist statement and SASE, to Cindy Tiedemann, Gallery Coordinator, Sinclair Community College, 444 West 3rd Street, Dayton, OH 45402.

SRO Photo Gallery is reviewing work for exhi­ bition. For more information, contact Zachary McFarlen, SRO Photo Gallery, Texas Tech University, School of Art, POBox 42081, Lubbock, TX 79409-2081. Deadline: April 2.

Blue Sky Gallery seeking slides of photograph­ ic work for exhibition consideration. Send 20 slides and an SASE to BSG, 1231 NW Hoyt, Dept AF, Portland, OR 97209. 503/225-0210.

SF Camerawork is reviewing exhibition pro­ posals by artists and curators. Send up to 20 slides, statement, resume, support materials and SASE to Programming Committee, SF Camerawork, 115 Natoma Street, San Francisco, CA 94105. 415/764-1001.

GRANTS The Tremaine Foundation supports the creation of thematic art exhibitions that are experi­ mental, challenging, and focused. Museum curators and qualified individuals in partner­ ship with an established nonprofit exhibition space are eligible to apply. The proposal should be for a strong, thematic exhibition that puts the works of contemporary art and/or architecture in a new or unconven­ tional aesthetic, historical, cultural, and/or social framework. Funding requests (for U.S.based exhibitions only) may be for up to $100,000. The Tremaine Exhibition Award should be the sole or primary source of fund­ ing for the exhibition. Single artist exhibitions and exhibitions already scheduled to occur are ineligible for funding under the program.

Guidelines and applications are online.

Tremaine Foundation, 290 Pratt Street, Meriden, CT 06450. 203/639-5544. Deadline: April 15. www.tremainefoundation.org Bronx Recognizes Its Own Award (BRIO), offers grants of $2,500 to Bronx-based artists. For guidelines contact the Bronx Council on the Arts, 1732 Hone Avenue, Bronx, NY 10461.

718/931-9500.

Deadline: March 18. www.bronxarts.org / grant.htm MICA Foundation, sponsors projects by artists that involve a directed investigation of the roles and histories of institutions which func­ tion in connection with artworks, including

commercial art galleries, museums, collectors, and foundations. Under represented projects, or invisible under the current conditions of the North American gallery and museum sys­ tems due to critical function, political content, or lack of market recognition are encouraged.

The MICA Foundation, 450 Park Avenue, New York, NY 10022. 212/724-3069. mica@interport.net Summer 2002 Photography Program in Finland, includes four days in St. Petersburg, Russia.

For more information look at Midnight Sun on www.nearbycafe.com W. Eugene Smith Memorial Fund 2002. Submit resume of educational and professional quali­ fications, provide photographic prints (8"xl0" prints preferred, and no more than 40), and/or photocopies, duplicate transparen­ cies, contact sheets and clippings of published stories, along with an SASE. There are no entry fees. The photographs will become part of the permanent W. Eugene Smith Legacy Collection at ICP. W. Eugene Smith Memorial Fund, c/o the International Center of Photography, 1133 Avenue of the Americas, New York, NY 10036. Deadline: July 15. www.smithfund.org JOB OPPORTUNITIES University of Minnesota seeks Assistant Professor of Photography. It is a tenure-track appointment, to begin August 26. A MFA degree in Art or extensive professional recog­ nition and experience, two-three years college level teaching experience are all required.

Send a letter of application, current resume, three reference letters, statement of creative work, statement on philosophy of teaching, sample syllabus, sample of personal work (slides, CD, VHS or DVD), and an SASE with enough postage for return of materials. Attn: Search #84, Department of Art/University of Minnesota, 208 Art Building, 216 21st Avenue South, Minneapolis, MN 55455. Deadline: March 1. www.artdept.umn.edu PUBLICATION OPPORTUNITIES Submit photographic or written works that address the uses of the camera in non-Western cultures for possible inclusion in a book titled Reversing the Colonial Gaze. Not interested in photographs made by US or European pho­ tographers in the 'Third World' unless they are extremely self-conscious. Send slides or materials with an SASE to Sandra Matthews, 72 Laurel Park, Northampton, MA 01060.

En Foco reviews work for Nueva Luz and its Touring Gallery program on an ongoing basis.

These two programs are open to photogra­ phers of Latino/a, African, Asian, Pacific Islander and Native American heritage, in any style and/or photo based genre. Contact En Foco, 32 East Kingsbridge Road, Bronx, NY 10468. 718/584-7718. www.enfoco.org

Nueva Luz 37

RESIDENCIES Visual Studies Workshop is reviewing proposals for Artists' Residencies in Photography, Digital Video and Multimedia, 8 and 16mm Film and Analog Video. VSW provides access to facilities, housing and an honorarium for up to one month ($1000-1 month), from February-June, September-November, 2002.

Send project statement, resume, work sam­ ples, SASE for return of work, and preferred dates to: Residencies, Visual Studies Workshop, 31 Prince Street, Rochester, NY 14607. Deadline: March 1. www.vsw.org Soaring Gardens Artists Retreat, accepting applications for May-September 2002.

Applications from emerging women artists encouraged. Residencies available for up to 3 artists for 3 to 12 weeks. Residents may be visual artists, writers, or composers; appli­ cants are encouraged to apply as a group.

Submit a proposal detailing proposed project, how long you would like to stay, the names and telephone numbers of 2 references (1 pro­ fessional and 1 personal), and a C.V. for all potential residents. Mail proposals to the Lerman Trust, c/o Trudy Gerlach, RD2 Box 228, Laceyville, PA 18623. Deadline: March 1. www.lermantmst.org Delaware Center for Contemporary Arts is accepting applications for its 2003 residency program. Contact Bee Johns, Curator of Education, Visual Arts Residency Program, DCCA, 200 South Madison Street, Wilmington, DE 19801. 302/656-6466.

Deadline: April 1.

Atlantic Center for the Arts in New Smyrna Beach, Florida, invites visual artists to apply to its Artists-in-Residence program. If select­ ed, artists receive housing, weekday meals, and studio space. Call 800/393-6975. www.atlanticcenterforthearts.org The Santa Fe Art Institute in New Mexico is offering 2 to 4 week residencies with studios to support artists whose living and/or work spaces have been compromised by the events of September 11, 2001. Please send a letter (and slides, if possible) to the Santa Fe Art Institute, 1600 St. Michaels Drive, Santa Fe, NM 87505. info@SFAI.org The Djerassi Resident Artists Program offers four-week residencies at no cost to artists in the disciplines of media arts/new genres, lit­ erature, choreography, music composition, and the visual arts. The program is located in a spectacular mral setting in the Santa Cmz Mountains, an hour south of San Francisco.

Application forms are available on our web­ site. You may also request applications by sending an SASE to Applications 2003, Djerassi Resident Artists Program, 2325 Bear Gulch Road, Woodside, CA 94062. Deadline: February 15.

38 Nueva Luz

EXHIBITIONS Lou Jones, Peter Kayafas, Two Views of Cuba.

Decordova Museum, 51 Sandy Pond Road, Lincoln, MA 01773. 781/259-8355. Through March 17. www.decordova.org Darrell Matsumoto, New Fictions: Constructed Photographs. Newport Art Museum, 76 Bellevue Avenue, Newport, RI 02840.

401/848-8200. Through April 14. www.newportmuseum.com Roy DeCarava. Museum of Art/RISD, 224 Benefit Street, Providence, RI 02903. 401/4546500. Through April 7. www.risd.edu Reflections in Black: Smithsonian African American Photography, Art and Activism. Hood Museum of Art, Wheelock Street, Hanover, NH 03755. 603/ 646-2808. Through March 10. hood.museum@dartmouth.edu Jolene Rickard, An/other Sacrifice. CEPA, 617 Main Street, #201, Buffalo, NY 14203.

716/856-2717.

Through March 30. cepa@aol.com Camera Women. Lehman Loeb Art Center, Vassar College, 124 Raymond Avenue, #703, Poughkeepsie, NY 12604. 845/437-5237.

Through March 24.

Annu Matthew, Bollywood Cowboys and Indians from India. Light Work, Robert. B. Menschel Photography Gallery, 303 University Place, Schine Student Center, Syracuse, NY 13244. 315/443-1300. Through March 8. cdlight@syr.edu Staging the Indian: The Politics ofRepresentation.

Tang Teaching Museum, 815 North Broadway, Saratoga Springs, NY 12866. 518/580-8080.

Through June 2. tang@skidmore.edu Howard Cash, Up from the Gullah. Met-Life Financial Service Center, 203-07 West 125th Street, New York, NY. Through March 17.

Annu Matthew, and others. Dream Street, through March 23. Edward Grazda, Douglas Sandhage, Afghanistan. Sepia International, 148 West 24th Street, Eleventh Floor, New York, NY 10011. 212-645-9444. April 5 - May 25. www.sepia.org Fifth Lesbian Biennial: Unfolding Desire, Fulfilling Desire. Leslie-Lohman Gay Art Foundation, 127B Prince Street, New York City, 10012. 212/673-7007. Through March 2. lldirector@earthlink.net Sophie Calle, Susan Derges, and others.

Women. Eyestorm, 60 Mercer Street, New York City, 10013. 212/226-1000. Through March 10. newyork.showroom@eyestorm.com.

Spirit Capture: Native Americans and the Photographic Image. National Museum of the American Indian, 1 Bowling Green, New York

City, 10004. 212/514-3700. Through July 21. tallchiefr@si.edu Sarah Jones. Anton Kern Gallery, 532 W 20th Street, New York City, 10011, 212/367-9663.

February 23 - March 30. akem@jps.net Neil Folberg, Celestial Nights. Klotz/Sirmon Gallery, 511 W 25th Street, 7th floor. New York City, 10001. 212/741-4764. February 13 March 23. www.photocollect.com Vik Muniz. Brent Sikkema Gallery, 530 W 22nd Street, New York City, 10011. 212/9292262. Through March 16. brentsikkema.com Peggy Ahwesh, Joe Gibbons, Phil Solomon and others, Whitney Biennal. Whitney Museum of American Art, 945 Madison Avenue, New York, NY. 212-570-3676. March 7 - May 26.

Hidden Truths: Bloody Sunday 1972. Le Minh Truong and others. Another Vietnam: Pictures of the War from the Other Side. International Center of Photography, 1133 Avenue of Americas, New York City, 10036. 212/8570000. Through Mar 17. www.icp.org Jed Devine, New Work. Bonni Benrubi Gallery, 52 East 76th Street, New York City, 10021. 212/517-3766. March 7-April 20. www.bonnibenmbi.com Joy Goldkind. Alfred Lowenherz Gallery, 853 Broadway, 2nd Floor, New York City, 10003.

212 / 260-7077. Through March 2.

Patty Chang, Corky Lee, Tai Lam Wong, Perspectives: Artists of Chinese Descent and New York. Queens College Art Center, Benjamin S. Rosenthal Library, 65-30 Kissena Blvd, Flushing, NY 11367. 718/997-3770. Through March 22. sbsqc@cunyvm.cuny.edu.

Kathy Vargas, Photographs, 1971-2000, February 20-April 28. Adal, Jibaro and Blueprint for a Nation, May 15-July 14. Zoellner Main Gallery, Lehigh University Art Galleries, 420 E. Packer Avenue, Bethlehem, PA 18015.

610/758-3615. www.lehigh.edu/~inluag Vera Viditz-Ward, Extended Lives: The African Immigrant Experience in Philadelphia. The Balch Institute, 18 South 7th Street, Philadelphia, PA 19106. 215/925-8090. Through April. www.balchinstitute.org Gerald Cyrus, Stormy Monday: Harlem Jazz Scene. Rotunda, Library Media Center, Rockland Community College/SUNY, 145 College Road, Suffem, NY 10901. 845/5744409. Through February 27.

Wendy Ewald, A Retrospective, 1969-1999.

Corcoran Gallery of Art, 500 17th Street NW, Washington, DC 20006. 202/639-1700.

Through April 8. www.corcoran.org.

Vantage Point 6 a group exhibition of portraits by students from ICP at The Point curated by Allen Frame through April 15, 2002 The Point 940 Garrison Avenue Bronx, NY 10474 718/542-4139 www.thepoint.org

David Fitzgerald, Cherokee Nation: A Portrait of a People. Smithsonian Institution, Arts and Industries Building, 900 Jefferson Drive SW, Washington, DC 20560. 202/357-2700.

Through April 9.

Nathan Lyons, Riding First Class on the Titanic.

Albin Kuhn Library, University of Maryland, 1000 Hilltop Circle, Baltimore, MD 21250.

410/455-2270. Through March 9.

Tuba Oztekin, Inside/Outside: An Installation; Marcy Levy, Returning Home: Stories of Aussiedler in Germany.

Center for Documentary Studies, Duke University, 1317 West Pettigrew Street, Durham, NC 277054854, 919-660-3654. Through April 6. http:/ / cds.aas.duke.edu Maria Martfnez-Canas, A Retrospective.

Museum of Art, Fort Lauderdale, FL. 954/525-5500. April 30 - August 30.

Pedro Abascal, Marta Maria Perez Bravo, Marucha, and others. Shifting Tides: Cuban Photography after the Revolution. Museum of Contemporary Photography, 600 S Michigan Avenue, Chicago, IL 60605. 312/663-5554.

Through March 9. www.mocp.org.

Danny Lyon. Minneapolis Institute of Arts, 2400 Third Avenue South, Minneapolis, MN 55404. 612/870-3131. Through April 7. www.artsmia.org Ram Rahman, Visions of India. Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106. 216/421-7340. March 2 - May 8. www.cma-oh.org A.W .Thompson, Wasteland, March 2-30.

Benson Scott, The West Series, March 30-April 27. Rosemarie Frisone, Variations of G___, April 27-May 25. Phyllis Finley, Intimate Landscapes, May 15-June 22. Southern Light Gallery, Amarillo College, 2011 South Washington Street, Amarillo, TX 79109.

806/371-5267.

Sebastiao Salgado, Migrations. Berkeley Art Museum, 2626 Bancroft Way, Berkeley, CA 94720. 510/642-0808. Through March 24.

Andrea Modica, Deborah Luster, Celia Shapiro and others. No Exit: Images of Imprisonment. SF Camerawork, 1246 Folsom Street, San Francisco, CA 94103. 415/8631001. Through March 23. www.sfcamerawork.org Rita Rivera, Miriam Romais and others, Americanos: Latino Life in the U.S. Arte Americas, 1630 Van Ness, Fresno, CA 93721.

559/266-2623. Through April 21. www.americanosproject.com Michael Kenna. Joseph Bellows Gallery, 7661 Girard Avenue, La Jolla, CA 92037. 858/4565620. Feruary 22-March 30. jbellows@pacbell.net Seydou Keota, Malick Sidibe, You Look Beautiful Like That. Hammer Museum/UCLA, 10899 Wilshire Blvd, Los Angeles, CA 90024.

310/443-7020. Through May 19.

Subhankar Banerjee, Phil Borges, Robert Glenn Ketchum, a Blue Earth Alliance Benefit, February 25-March 23. Peter Tumley, Betty Udesen, Denis Kempe, March 25-April 27.

Benham Gallery, 1216 1st Avenue, Seattle, WA 98101. 206/622-2480. www.benhamgallery.com

EVENTS/MISCELLANEOUS Women in Photography Workshop, on four Saturdays: February 16, 23, March 2, 23, from 10am - 4pm. Guest lecturers include Nancy Burson, Cheryl Younger, Lina Pallotta and others. Contact Mel Rosenthal, SUNY Empire State College, 225 Varick Street, New York, NY 10014. 212/647-7853.

Internships available with En Foco, a busy and growing non-profit photography organi­ zation. Internships can be taylored according to interest, such as publication production, art installation, publicity, administration, etc.

College credit may be available. Contact En Foco, 32 East Kingsbridge Road, Bronx, NY 10468. 718/584-7718. www.enfoco.org View Camera magazine, presents the First Annual Large Format Photography Conference, June 28 -July 2. Seminars include Getting Started in Large Format Photography, The Platinum-Palladium Process, Designing and Building Your own Camera, The History of Large Format in New Mexico, Backpacking with Large Format, and more; Demos, Hands-On Sessions; Trade Show; Portfolio Reviews; Exhibitions. For more information contact View Camera, POBox 2328, Corrales, NM, 87048. www.viewcamera.com

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Nueva Luz 39

FotoFest N iHP1j

A Citywide Celebration of Art nj

The Classical Eye and Beyond Sergey Lobovikov, Widow's Elegies, 1907-1908, Grey Tone Gum Print, RussianPictorialism exhibit

Take a journey from 19th Century Black and White Photography to 21 st Century Internet Art.

March 1 - April 1, 2002 Over 120 Exhibitions _ Classical Photography _ New Technology _ Mixed Media DJ Performances Video Workshops Symposia For FotoFest 2002 information stop by FotoFest 1 s Headquarters at Vine Street Studios, Downtown, 1113 Vine Street or the Houston Visitors Center, 901 Bagby at City Hall Georges Rousse, lena, 2000, Installation

Biennial 2002 Catalogues and T-shirts are available.

For Information call 713-223-5522 www.fotofest.org NATIONAL

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ENDOWMENT

Design Group

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ARTS Houston Distributing Company

40 Nueva Luz

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En Foco

“Nueva Luz

announces a color edition of Nueva Luz photographic journal, celebrating over 27 years of presenting works by photographers of African, Asian, Latino and Native American heritage.

is an indispensable publication, both in presenting the work of photographers and in providing invaluable information to its readers."

This special issue features outstand­ ing reproductions by 68 contempo­ rary photographers and essays by A.D. Coleman, Lucy Lippard, Pedro Meyer and Deborah Willis.

Bill Mindlin Publisher & Editor, Photography in New York International

Commemorative Issue: $15 (plus shipping & handling) Cover photo: © Juan Sanchez

"Considering how much En Foco, as a powerful visual presence and voice, impressed, affected and inspired me when I was a young frustrated Puerto Rican art student, I have grown to respect, admire, and appreciate En Foco. To be a part of this issue is very special to me."

Juan Sanchez "Beautiful commemorative issue! Great work!"

Colletee Fournier, photographer "A treasure recently came across my desk...it was the Commemorative Issue of Nueva Luz...and a spectacular one at that! Thank you so much for sharing your latest collection of artist masterpieces with me."

Shakurra, For Us Publications "WOW! I just received my copy of the Commemorative Nueva Luz and it blew me away! Everyone I show it to is impressed. I applaud all of you hard work and wish you mega congratulations!"

Andrew Ortiz "I just received the Commemorative Issue of Nueva Luz, and I wanted to thank you for a job well done. The issue is really quite beautiful, I am so pleased to have my work included in it!"

Suzanne Saylor "I was very impressed and pleased to receive the commemorative issue of Nueva Luz. It looks great with comprehen­ sive material. Continue the good work."

Nitza Luna

Order

Nueva Luz Individual Subscriptions: $30 for U.S. & Puerto Rico $35 for Mexico & Canada. $45 for other countries.

Institutional Subscriptions: $60 for U.S. & Puerto Rico $65 for Mexico & Canada $75 for other countries

Become an En FOCO member Membership: $45 and includes portfolio reviews, a subscription to Nueva Luz, and invitations to special events.

Photographers of African, Asian, Latino, Native American and Pacific Islander heritage are eligible for the New Works Photography Award program and the Slide Registry.

Gift subscriptions, memberships and back issues are available. Please call 718/584-7718 for more information.

All Subscriptions, Memberships and Donations are tax deductible to the extent allowed by law.

En Foco, Inc. 32 East Kingsbridge Road Bronx, NY 10468 718/584-7718 info@enfoco.org www.enfoco.org

Nueva Luz 4 I

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REVIEW: LATIN AMERICAN LITERATURE AND ARTS P. O. Box 3000 Denville, NJ 07834-9481 (Make checks payable to the Americas Society, Inc.) Tel 1.800.783.4903 http:///www. Americas-Society.org

Bogen Photo Corp., 565 East Crescent Ave, Ramsey, NJ 07446 Tel: (201) 818 9500 Fax: (201) 818 9177

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Fact or Fiction: Photography and Mediated Experience Society for Photographic Education - 39th National Conference March 21-24, 2002 at the Tropicana Hotel in Las Vegas Keynote speaker: Featured speaker: Honored educator: Guest speaker:

Tracey Moffatt Dave Hickey Bart Parker Reverend Ethan Acres

(Visit our web site for a complete list of presenters, exhibitors, and portfolio reviewers. Downloadable registration forms and conference details online now.)

Experience Las Vegas as a colorful means to explore themes such as virtual experience, fantasy, and the role of through-the lens culture in our unfolding 21st century society. Invigorating speakers, imagemakers and panelists present current trends, concerns and scholar­ ship in the field. Invited image makers are: Joann Brennan, Deborah Bright, Angie Buckley, Sylvia de Swaan, Krista Elrick, Paola Ferrario, Robert Flynt, Ellen Garvens, Gary Goldberg, Susan kae Grant, Richard Gray, Danny Guthrie, Phil Harris, Fern Logan, Martha Madigan, Michael J. Marshall, Valerie Mendoza, Mel Rosenthal, Steven Skopik, Erin Sotak, William Williams, Mary Wolf, and Jeffrey Wolin. Lectures are planned by David Bate, Makeda Best, Lynn Cazabon, Rebecca Cummins, Douglas Holleley, Tamarra Kaida, Louis Kaplan, Margot Anne Kelley, Julieanne Kost, Richard Krueger, James Lerager, Stacey McCarroll, D. John McCarthy, Sara Northerner, Fabia Ochoa, Peter Palmquist, Sara-Jayne Parsons, Christine Shank, Trudy Wilner Stack, Mary Virginia Swanson, Nick Tobier, Nancy Wride, and Cheryl Younger. Invited panel moderators are Byron Brauchli, Ellen Carey, Barbara DeGenevieve, Cass Fey, Carol Flax, James Lerager, Fleming Lunsford, Karen Norton, and Susan Ressler. This list may still change. Other features include our exhibits fair with over 50 corporate exhibitors, including Adobe, Calumet, Epson, Fuji, Hasselblad, Kodak, Mamiya, Olympus, and Polaroid; one-on-one portfolio review sessions, career placement services, a silent auction, and other special events.

For conference details, please visit our web site, or contact us at SPE National Office, 110 Art Bldg., Miami University, Oxford, OH 45056-2486, Phone 513/529-8328, Fax 513/529-1532 (attn. SPE), Email SocPhotoEd@aol.com.

42 Nueva Luz

Society for Photographic Education www.spenationa1.org

PHOTOGRAPHY IN NEW YORK

Exhibitions, Private Dealers, Websites, Auctions, Events,

NTERNATIONAL

1 year ■ 6 issues: $30 United States • $35 Canada • $50 All Other Countries

Columns, Services, Maps, and more in one handy, elegant bi-monthly guide

US funds on US bank or Amex/Visa/MasterCard

And on the internet 1500 photographers cross-referenced to galleries and

www.photography-guide.com

private dealers worldwide, plus links to the top art photography sites

64 West 89th Street, New York, New York 10024 212 787 0401 • Fax 212 799 3054 • pny@photography-guide.com

The journal for creative photographers The best photography is within our pages

You'll happily say:

"i discovered this work through Fotophile!"

One year (four issues) - $22 / Two years (eight issues) $40 28-15 34th Street, Suite 3f Long Island City, NY 11103 Ph: (718) 721-5254 Fax: (718) 721-0196 fotophile@mac.com

Nueva Luz 43

Print Collectors Program

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

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!

Your order includes a carefully printed and signed original photograph, a bio, artists statement and a complimentary subscription to Nueva Luz (or a mem­ bership extension for current members).

To Order, please fill out the form on the back cover, indicate print choice and mail with your check or money order to En Foco, Inc.

Sophie Rivera, Blizzard, 1987.

Gelatin silver print, 14 x 11" $300

Frank Gimpaya, Boy Jumping Off Pier, 1972. Gelatin $300 Silver Print, 13x19”

www.enfoco.or£ 44 Nueva Luz

Dawoud Bey, Girl in a Deli Doorway, Brooklyn, NY, 1989. Gelatin silver print, 14x11” $300

Non-Profit Org. U.S. Postage PAID Syracuse, NY Permit No. 999

Nueva Luz photographic journal Published by En Foco, Inc. 32 East Kingsbridge Road Bronx, NY 10468 718/584-7718 www.enfoco.org

Subscribe to

Nueva Luz

Individual Subscriptions: □ $30 for U.S. & Puerto Rico. □ $35 for Mexico & Canada. □ $45 for other countries.

Institutional Subscriptions: □ $60 for U.S. & Puerto Rico. □ $65 for Mexico & Canada. □ $75 for other countries.

Name: Address:

Phone:__________________ Fax: E-mail:--------------------------How did you hear about us?

Become an En FOCO

member

□ $45 Membership includes portfolio reviews, a subscrip­ tion to Nueva Luz, and invitations to special events.

Photographers of African, Asian, Latino, Native American and Pacific Islander heritage are eligible for the New Works Photography Award program and the Slide Registry.

Donations/Challenge Grant Match: □ $500

□ $250

□ $

other

Gift subscriptions, memeberships and back issues are available. Please call 718/584-7718 for more information.

All Subscriptions, Memberships and Donations are tax deductible to the extent allowed by law.

Send check or money order (U.S. currency only) to: En Foco, Inc. 32 East Kingsbridge Road Bronx, NY 10468