Nueva Luz Vol 8 Issue 2

NUEVA LUZ photographic journal

► Dugan Aguilar Volume 8 No. 2 - U.S. $7.00 0 2>

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74470 92723

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► Francisco Dominguez ► Kapulani Landgraf ► Guest Edited by Theresa Harlan ► Artist Opportunities

NUEVA LUZ photographic journal Volume8:2

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 of

Advertising Marisol Diaz Copy Editor Heidi Leigh Johansen Translator Dina Bursztyn

*of

State of the Arts

EN FOCO STAFF Executive Director Charles Biasiny-Rivera Managing Director Miriam Romais Program Coordinator Marisol Diaz Production Coordinator Daniel Schmeichler Intern Monique Haynes Design, Frank Gimpaya

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BOARD OF DIRECTORS Angela Cabrera Betty Wilde-Biasiny Pedro Morales Charles Biasiny-Rivera 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 Armadillo & Co. 800/499-7674

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Nueva Luz is made possible through the National Endowment for the Arts, the Bronx Council on the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs and the Bronx Borough President Adolfo Carrion Jr./Bronx City Council. En Foco is also funded by the New York Foundation for the Arts, David Rockefeller Jr., the Association of Hispanic Arts/Chase Smarts Grant, Citibank, North Fork Bank, Coca-Cola Bottling Company of New York, 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 11x14". A self-addressed stamped enve­ lope and appropriate packaging must accompany all mailed portfolios to ensure safe return. En Foco does not assume liability for any mate­ rials sent by mail. For information on En Foco's other programs, visit www.enfoco.org.

Editorial E1 otro dfa en el Metro, mientras iba a trabajar encontre

N/\^iile riding to work on the subway the other day I found a piece of parchment written in Sanskrit which carried a story from Reuters about the discovery of reality. A Tibetan monk, having exhausted himself trying to levitate was relaxing in a pond full of lush lotus flowers.

un pedazo de pergamino que relata una historia de Reuters, escrita en sanscrito, sobre el descubrimiento de la realidad. Un monje tibetano, exhausto de tratar de levitar, se estaba relajando en una laguna llena de exuberantes flores de loto.

As the monk closed his eyes a sudden thunderstorm swept over him and lightning struck the water, shocking him unconscious. When he awoke to his profound amazement he found himself lying on top of the lotus flowers in the pond. He swam to the shore and there pondered what had happened.

Cuando el monje estaba cerrando los ojos, se desato repentinamente una tormenta que lo arrastro mientras los rayos que cafan en el agua lo dejaron inconsciente. A1 despertarse, para su profunda sorpresa, se vio tendido sobre las flores de loto de la laguna y entonces nado hasta la orilla para ponerse a cavilar sobre lo que le habfa acabado de pasar.

He thought about the course of events, the lightning that knocked him out of the water, and his landing upon the lotus flowers. The explosion of energy must have entangled the flower's roots that acted as a net holding him afloat. Satisfied that this was a rational conclusion, he tossed it aside, knowing that this methodology was not to be trusted.

He then spoke to the sacred lotus and inquired about the meaning of what had transpired and fell into a deep state of meditation. As he returned to his ordinary state, he smiled, real­ izing that his goal that day was to rise above his perceived limita­ tions.

From that day forward, the monk wrote vast unsigned works that probed the subject of perception which thousands of years later was translated as reality. An earthquake destroyed the original manuscripts but excerpts continue to surface in a variety of languages and authorship around the world.

Penso sobre el curso de los acontecimientos, el rayo que lo saco del agua y su aterrizaje sobre la flores de loto. La explosion de energfa debio haber enredado las rafces de las flores las que le sirvieron de red manteniendolo a flote. Satisfecho de haber encontrado una conclusion racional paso a descartarla sabiendo que esta metodologfa no es de confiar.

Luego le hablo al loto sagrado preguntandole sobre el significado de lo que habfa sucedido cayendo en un estado profundo de meditacion. Al volver a su estado normal, se sonrio dandose cuenta que el objetivo de ese dfa habfa sido elevarse sobre las limitaciones percibidas.

A partir de ese dfa, el monje escribio obras vastas, sin firmarlas, que probaban el tema de la perception, las que miles de anos despues fueron traducidas como realidad. Un terremoto destruyo los manuscritos originales pero algunos pasajes continuan apareciendo en una variedad de lenguas y autores alrededor del mundo.

I missed my stop and decided to ride to the end of the line.

Some hold their reality so firmly intact as to prevent their levitation of being. They use terms like, "right and wrong" to describe preferences and prejudices, and follow orders that exterminate the innocent and the helpless, priding themselves as though doing God's work. Instead each of us must speak to our own personal sacred flower and listen closely to the whisper of its petals.

Me pase de mi parada y decidf continuar hasta el final de la lfnea.

Algunos se aferran tan firmemente a la realidad intacta que previenen la levitation del ser. Usan terminos como "bien y mal" para describir preferencias y prejuicios y siguen ordenes que exterminan inocentes y desamparados, y lo hacen enorgullecidos como si estuvieran haciendo el trabajo de Dios. En lugar, cada uno de nosotros debiera hablar con la flor sagrada propia y escuchar cuidadosamente el susurro de sus petalos.

Charles Biasiny-Rivera, Publisher & Editor

Table

of

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

Dugan Aguilar............................

Francisco Dominguez ................

Kapulani Landgraf.....................

Commentary by Theresa Harlan Comentario ................................

Critical Mass Newsletter ...........

Advertising ...............................

Contents page 1 page 2-11 page 12-21 page 22-31 page 32 page 33 page 34-^41 page 42-45

Cover photograph: Kapulani Landgraf, Missionary Party, Ka Huli Au series, 1998. Silver gelatin collage with fish hooks, 40x32" Nueva Luz I

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Dugan Aguilar was born in Susanville, California. Aguilar has exhibited his photo­ graphs at the Maidu Interpretive Center, Roseville, California; Crocker Art Museum, Sacramento, California; Wheelwright Museum, Santa Fe, New Mexico; and the Barbican Gallery, London, UK. He is a community-based photographer who documents important cul­ tural events such as the annual gathering of the California Indian Basketweavers Association.

He resides in Elk Grove, California.

"My photography has evolved into documenting my people in California and Nevada. I have Paiute blood from my father's side and Pit River (Hamawi Band) and Mountain Maidu from my mother, with a little Irish from both sides. I do environmental portraiture.

However, like the all-around cowboy, I would like to be considered an all-around photogra­ pher. My path as a photographer has led me to try to document Native peoples of California and Nevada—my heritage."

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Dugan Aguilar Sara Keller, 1995. Gelatin silver print, 20x16"

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Dugan Aguilar Amanda, 1995. Gelatin silver print, 20x16"

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Dugan Aguilar Sandy Keller, 1995. Gelatin silver print, 20x16"

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Dugan Aguilar Allana and Tecalla, 1995. Gelatin silver print, 20x16"

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Djjgan Aguilar Andy, 2001. Gelatin silver print, 20x16"

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Dugan Aguilar Porno Dancers Led by David Smith, 1995. Gelatin silver print, 16x20"

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Dugan Aguilar Maidu Dancers, Chaw'se, 1995. Gelatin silver print, 16x20"

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Dugan Aguilar Maidu Traditional Dancers and Singers, Chaw’se, 1995. Gelatin silver print, 16x20"

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Dugan Aguilar Tuolumne Rancheria Roundhouse, 1993. Gelatin silver print, 20x16"

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Francisco Dominguez

Francisco Dominguez is a photographer and poet residing in Sacramento, California. He has exhibited his works at La Raza Galeria Posada, Sacramento, California; The Mexican Heritage Plaza, San Jose, California; Boulder Public Library, Boulder, Colorado; and Sisquieros Museum, Mexico City, Mexico.

He has been a member of Danza Quetzalcoatl-Grupo Xitlalli and Quatli Mazat, a Native American drum group. He is currently an Artist-in-Residence, sponsored by the California Arts Council.

"Recently while showing my slides to a Chicano studies art class at UC Berkeley, a student asked me a question concerning the role of the photographer in his or her community and social responsibility. I answered that as a photographer you must have respect for the people and / or subject you are photo­ graphing. I found myself saying, 'I am creating my own reality with my photographs.' This reality deals specifically with how I see the world, my world view. My main body of work consists of photography of Chicano/Mexican and indigenous peoples of North and Central America. I have always wanted to docu­ ment my own people through my own Mestizo eyes, with my own brown hands."

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Francisco Dominguez The Dancer/ Danzante, 1996. Gelatin silver print, 9x13"

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Francisco Dominguez Youth and Tradition/ La juventud y la tradicion, 1994. Gelatin silver print, 13x9"

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Francisco Dominguez Procession in Honor of Andres! La procesidn en honor a Andres, 1996. Infrared sepia-toned print, 9x13"

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Francisco Dominguez Children of the Earth/ Los hijos de la Tierra, 1990. Gelatin silver print, 13x18"

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Francisco Dominguez Javier at 16 Years/ Javier en sus 16 afios, 1996. Infrared sepia-toned print, 13x9"

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Francisco Dominguez The Farmworker/ Trahajador del campo, 1996. Infrared sepia-toned print, 13x9"

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Francisco Dominguez Hand in Hand/ Mono y mono, 1996. Infrared sepia-toned print, 13x9"

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Francisco Dominguez Cucumber Pickers/ Cosechadores de pepinos, 1996. Infrared sepia-toned print, 13x18"

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Francisco Dominguez Maria from Jalisco/ Maria de Jalisco, 1996. Infrared sepia-toned print, 13x9"

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Kapulani Landgraf

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Kapulani Landgraf is a freelance photographer based in Kaneohe, Hawai'i. Born and raised in Pu'ahu'ula, her work presents a native view of Hawai'i and the Hawaiian people. Landgraf received a bachelor's degree in anthropology from the University of Hawai'i at Manoa and a master's degree in fine art from Vermont College. She is the author of Na Wahi Pana O Ko'olau Poko (Legendary Places ofKo'olau Poko), a photographic book regarding sacred Hawaiian sites and ÂŁ Na Hulu Kupuna Na Puna Ola Maoli No, an oral history of kupuna (elders). Her work has been exhibited in Alaska, British Columbia, Hawai'i, New Mexico, New York, Oklahoma, Ontario, Pennsylvania, Tennessee, Vermont, and Washington. She was a recipient of the En Foco New Works Photography Award in 1999.

Ka Huli Au: A Time of Great Upheaval Realize... the first documented foreigner to land in Hawai'i was killed for his human actions. infusion of western thought and ideals proved to be a catalyst in the abolishment of Hawaiian religion. missionaries viewed Hawaiian chant and dance as sinful. the Hawaiian language was forbidden within its own country. within the first 45 years of contact, the Hawaiian people suffered a 83% depopulation rate. inundation of foreigners decrees marginalization in our own land. ini893 the American military overthrew the Hawaiian monarchy. ini 898 the foreign oligarchy forcibly annexed Hawai'i to the United States. byl935 one third of the directors and officers of businesses in Hawai'i were direct descendents of or related by marriage to the original missionary families.

Hawaiian trust lands are controlled by the State and Federal governments which lease the lands to non-Hawaiians. over 20,000 Hawaiian families are on the Hawaiian trust land's waiting list. once abundant Hawaiian fishponds were filled for private homes. the median cost of a home on O'ahu is $375,000. private property is not Hawaiian. more indigenous and endemic species from Hawai'i are extinct or endangered than in the rest of the United States. from 1941 to 1990 the island of Kaho'olawe was used as a bombing target for the military. the disinterrment of Hawaiian ancestral bones for resort, military, and freeway developments. geothermal wells drilling into the home of fire goddess Pele. tourists outnumber Hawaiians 30 to 1.

Hawaiians are not Americans.

Hawaiian self-determination.

Hawaiian lives, this is not paradise.

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Kapulani Landgraf Hapai, Ka Huli Au series, 2000. Hand-stamped silver gelatin collage, 40x32"

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Kapulani Landgraf Ho'iho'i hou i ka mapuna, Ka Huli Au series, 1998. Hand-woven silver gelatin collage, 40x32"

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Kapulani Landgraf Ho'ohaule, Ka Huli Au series, 2000. Gesso silver gelatin collage, 40x32"

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Kapulani Landgraf 'Ole, Ka Huli Au series, 1998. Hand-etched silver gelatin collage, 40x32"

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Kapulani Landgraf Hulihuli, Ka Huli Au series, 2000. Hand-woven silver gelatin collage, 40x32"

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Kapulani Landgraf Makole, Ka Hull Au series, 1998. Silver gelatin collage, 32x40"

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Kapulani Landgraf Ka huli au, Ka Huli Au series, 1998. Silver gelatin collage, 40x32"

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Kapulani Landgraf Ma'i na loko, Ka Huli Au series, 1998. Silver gelatin collage, 40x32"

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Kapul an i Landgraf Noa, Ka Huli Au series, 1998. Silver gelatin collage, 40x32"

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commentary The events of September 11, 2001, stunned Americans throughout the country. Television news unfurled images of the towers in flames and collapse all day and night. I offered prayers for all. The shock of it brought to my mind the "homeland" terror that this nation is built upon, which is rarely memorialized out­ side of native communities. The bodies and lives of indigenous men, women, and children have been shattered and killed by acts of terrorism because foreign invaders believed them to be evil and sub-human. This post-September 11 existence gives new meaning and importance to the conflict of ideology, religion, cul­ ture, politics and economic systems to those who previously felt safe and untouched.

The photographic works of Dugan Aguilar, Francisco Dominguez, and Kapulani Landgraf all speak of the complicated existence of conflict and the need for survival that has always and continues to challenge indigenous peoples. Each photographer carries his or her own distinct passion for image-making, drawn from both personal experience and the historic experience of their indigenous communities. Guided by indigenous belief systems, principles and protocol, Aguilar, Dominguez, and Landgraf cre­ ate a visual history of indigenous presence and vision.

Dugan Aguilar calls his work environmental portrai­ ture. He is moved by the beauty and strength held in the life sto­ ries of northern California native peoples. He spends most of his time photographing northern California people, mostly from his mother's area of Mountain Maidu, Pit River, and the Walker River Paiute from his father's Nevada homelands. The discovery of gold in 1848 and the ensuing hordes of miners with gold fever decimated the mountains, foothills, and lives of Maidu and Pit River peoples. Pre-contact indigenous populations of California are estimated to have been as high as three hundred thousand. At the entry of California into statehood in 1850, indigenous popu­ lations were at a weakened number of thirty thousand.

Few images exist of California native people. They did not catch the eyes of roving turn-of-the-century photo-pictorialists as the Plains and Pueblo peoples did. Aguilar's environmen­ tal portraiture documents the continuance of indigenous life beyond the gold rush. He is singularly the most prolific of California native photographers. Aguilar's Chaw'se series is cen­ tered on the rooted connection between Native California people and the earth. He sees his photography as a way of sharing this connection with others. He states, "To me the people in my pho­ tographs are really a grounded part of the earth. The dancers tell me they dance for all of us. I am glad that they are still doing that for us. I'm glad they are still thinking like that for us."

Francisco Dominguez, like Aguilar, is moved by images of brown faces and the stories held and carried by indigenous and Chicano communities. Such stories are mainly kept within family and community. Dominguez first realized the impact of images when experiencing his mother's tearful response to images of the Kennedy and King assassinations.

In California, Dominguez is an active participant and member in both the Chicano and Native American communities.

Like the other photographers discussed, he documents his own environment, including Mexican farm workers and danzantes.

For Dominguez, infrared film records not so much what is seen, but rather what is felt. In both of his series depicting farm work­ ers and danzantes are the ever present communities of indios and Chicanindios (Mestizos). Submerged, yet significant, is

Dominguez's recognition and understanding that many laborers labeled as Mexican are indigenous peoples from not only Mexico, but also Guatemala and other Latin American countries. A "police" border and NAFTA-blessed maquiladora plants (U.S.owned) make the journey to the U.S. dangerous and necessary.

The journey north is risked because families must be fed.

Traditions, tenacious as the people that value them, also make their way over rivers, mountains, and desert. Dominguez's photographs of Conchero danzantes depict the passage of Nahua (Aztec) traditions from family to family, regardless of political and economic borders. His infrared images of danzantes timetravels to both the ancient and contemporary existence of Aztlan and its people.

Armed with Native Hawaiian cultural knowledge, Kapulani Landgraf tears up Hawai'i's postcard identity of an exotic paradise to reveal a true and native Hawai'i. Western colo­ nization came across the water with military occupation, Christian missions, and tourism. Landgraf's photo-collages, like Native Hawaiian weavings, are cut and woven to depict perva­ sive waves of disruption on Native Hawaiian life. In her photo­ collages, missionaries, sunbathing tourists, and carvings of Hawaiian spiritual ancestors occupy a photographic reality in which past and present co-exist. English and Hawaiian text rever­ berate Native Hawaiian voices of resistance.

Landgraf received her first camera, a Brownie from a thrift store, when she was five years old. As a student at the Hawaiian community school, the Kamehameha School, she doc­ umented the oral history of her grandparents and learned of the connection between photography and message-making.

Landgraf continued her course of social documentation by pho­ tographing protest marches and the development of freeways on sacred sites. She deliberately does not photograph in color, stay­ ing away from any reference or connection to touristic images of a Hawaiian "paradise."

The series The World is a Gift by Frank LaPena, a California Wintu Nontipom artist, reflects a belief shared by many indigenous peoples. Indeed, the world is a gift, and the works of Aguilar, Dominguez, and Landgraf are gifts of knowl­ edge—opportunities for the world to step away from historical ignorance, arrogant political-correctness, naive whole-earth romanticism, or Westernized apathy. Centuries of injustice, abuse, and terror have worn the existence of native people, but not the resolve to follow traditional teachings. Over five hundred years after the famous voyage of 1492, native people continue to pray for the spiritual renewal of the earth and its people—and still must fight to protect sacred sites, ancestral burial grounds, as well as to gain access to health, education and economic devel­ opment. What to do about terrorism? Think about the persistence of indigenous peoples.

Theresa Harlan, Guest Editor 1. Photographer Emma B. Freeman (1880-1928) built a large inventory of romantic pictorials of people from the Klamath and Hoopa area of northwest California.

2. Interview with the author, solo exhibition brochure, Carl Gorman Museum, Department of Native American Studies, University of California, Davis, 1994.

3. Dominguez's father came to California under the Bracero program. The Bracero program's intent was to fill the depleted work force due to WWII.

Theresa Harlan is an independent curator and writer of contemporary Native American art and photography. She works for the California Arts Council as an arts administrator, and she lives in Vallejo, California.

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comentario Los acontecimientos del 11 de Setiembre dejaron anonadados a los norteamericanos en todo el pais. Los noticieros de la TV desplegaron imagenes de las torres en llamas y de su colapso, 24 horas al dia, 7 dias por semana. Yo ofreci oraciones a todos.

Pero el shock me recordo el terror sobre el cual "nuestra patria" ha sido construida y el que rara vez se conmemora fuera de la comunidades indigenas. Cuerpos y almas destrozados de hombres, mujeres y ninos dejaron este mundo a causa de actos terroristas perpetrados por invasores extranjeros que los consideraron diabolicos y sub-humanos. La realidad posterior a este 11 de Setiembre subraya conflictos de ideologia, religion y de sistemas politicos y economicos para aquellos que previamente no habian sido afectados.

Las obras fotograficas de Dugan Aguilar, Francisco Dominguez y Kapulani Landgraf habian sobre la complicada existencia de conflicto y la necesidad de supervivencia que con­ tinuo y aun continua desafiando las comunidades indigenas.

Cada fotografo trae la pasion particular que alienta a sus ima­ genes, extraidas tanto de la experiencia personal como de la experiencia historica de las comunidades indigenas. Aguilar, Dominguez y Landgraf, guiados por los sistemas de creencias, principios y protocolos indigenas trabajan para crear una historia visual de la vision y la presencia indigena.

Dugan Aguilar considera que sus obras son retratos del medio ambiente, lo motivan la belleza y la fortaleza que contienen las historias de las vidas indigenas del Norte de California.

Pasa casi todo su tiempo fotografiando a la gente del Norte de California, mayormente del area de su madre. Mountain Maidu y Pit River, y de Walker River Paiute en Nevada, de donde es originario su padre. El descubrimiento de yacimientos de oro y las subsecuentes hordas de mineros con la fiebre del oro arrasaron las montanas, las bases de las sierras y las vidas de la gente de Maidu y Pit River. Previamente la poblacion indigena de California habia sido estimada en trescientos mil, pero cuando California paso a ser un estado, habia disminuido a treinta mil.

Pocas imagenes existen de la poblaciones indigenas de California. No atrajeron la atencion de los retratistas itinerantes de fines de siglo como las comunidades de los llanos o del Sudoeste. Los retratos del medio ambiente de Aguilar documentan la continuacion de la vida indigena posterior a la fiebre del oro. El es el mas prolifico de los fotografos indigenas de California. La serie Chaw'se de Aguilar se centra en la enraizada conexion entre los indigenas de California y la tierra y considera sus fotografias como una manera de compartir esta conexion con otros. En sus propias palabras: "Para mi, la gente de mis fotografias son realmente parte de la Tierra. Los danzantes me dicen que ellos bailan por todos nosotros. Me alegro de que lo sigan haciendo. Me alegro que todavia sigan pensando asi por nosotros".

Francisco Dominguez, como Aguilar, es motivado por las imagenes de las caras marrones y las historias contenidas y trasmitidas por las comunidades indigenas y chicanas. Tales his­ torias se mantienen principalmente dentro de la familia y la comunidad. Dominguez por primera vez se dio cuenta del impacto de las imagenes al ver a su madre responder con lagrimas a imagenes de los asesinatos de Kennedy y King .

En California, Dominguez es un participante y miembro activo de dos comunidades simultaneamente: la chicana y la indigena. Al igual que los otros fotografos el documenta su propio medio ambiente: trabajadores rurales mexicanos y danzantes.

Para Dominguez, la pelicula infrarroja registra no tanto lo que se ve pero mas bien lo que se siente. En ambas series, representando a trabajadores rurales y danzantes, las comunidades de indios y

Chicanindios (mestizos) estan siempre presentes. Aunque de manera sumergida,. pero significativamente, esta el reconocimiento y el entendimiento de que muchos trabajadores considerados mexicanos son indigenas de Mexico, Guatemala y otros paises latinoamericanos. Una "policia" de fronteras y las plantas maquiladoras, (propiedades de EE.UU. y bendecidas por NAFTA), hacen que el viaje sea peligroso pero necesario. Se arriesgan a hacer el viaje hacia el norte para poder alimentar a sus familias.

La tradiciones, tenaces como la gente, tambien viajan a traves de rios, montanas y desiertos. Las fotografias de los danzantes de Conchero retratan el pasaje de las tradiciones Nahuas (Aztecas) de familia a familia, al margen de las fronteras politicas y economicas. Sus imagenes infrarrojas de danzantes viajan, a traves del tiempo, tanto a la existencia antigua como a la contemporanea de Aztlan y su gente.

Armada con el conocimiento cultural hawaiiano, Kapulani Landgraf destroza la identidad de postal de Hawai'i como un paraiso exotico para revelar la verdadera identidad de la cultura nativa de Hawai'i. La colonizacion occidental llego, a traves del agua, trayendo ocupacion militar, misioneros cristianos y turismo. Los collages fotograficos de Landgraf, como los tejidos hawaiianos nativos, son cortados y tejidos para representar las olas invasoras que trastomaron la vida nativa hawaiiana. En sus collages fotograficos misioneros, turistas tomando sol y tallas de ancestros espirituales hawaiianos ocupan una realidad fotografica en la que coexisten el presente y el pasado. Textos en ingles y en hawaiiano reverberan con las voces de resistencia hawaiiana.

Landgraf recibio su primera camara, una Brownie, de una tienda de segunda mano cuando tenia cinco anos. Como estudiante de una escuela de la comunidad hawaiiana, la escuela Kamehameha, documento la historia oral de sus abuelos y aprendio la conexion entre la fotografia y la construccion de mensajes. Landgraf continuo su curso de documentacion social al fotografiar marchas de protesta y el desarrollo de autopistas sobre los sitios sagrados. Deliberadamente no fotografia en color, manteniendose alejada de cualquier referencia o conexion a las imagenes del "paraiso" hawaiiano.

La serie "El mundo es un regalo" de Frank LaPena, un artista Wintu Nontipom de California, refleja una creencia compartida por muchos grupos indigenas. Verdaderamente, el mundo es un regalo y las obras de Aguilar, Dominguez y Landgraf son regalos de conocimiento—oportunidades para que el mundo se aleje de la ignorancia historica, la arrogancia de la rectitud politica, la ingenua y romantica nocion de "la vuelta a la tierra" o la apatia occidental. Siglos de injusticia, abuso y terror han extenuado la existencia de la gente indigena pero no su resolucion para continuar con las ensenanzas de sus tradiciones.

Despues de mas de quinientos anos del famoso viaje de 1492, la gente indigena continua rezando por un renacimiento espiritual de la Tierra y de su gente - y todavia debe luchar para proteger sus sitios sagrados y cementerios ancestrales tanto como para tener acceso a salud, educacion y desarrollo economico. iQue hacer sobre el terrorismo? Piensa sobre la perspectiva de los indi­ genas.

1. La fotografa Emma B. Freeman (1880-1928) creo un gran inventario de imagenes romanticas de la gente del area de Klamath Hoopa del noroeste de California.

2. Entrevista con el autor, catalogo de exhibition, Carl Gorman Museum, Department of Native American Studies, University of California, Davis, 1994.

3. El padre de Dominguez llego a California con el Programa de Braceros. La intention del Programa fue suplir la fuerza laboral drenada por la Segunda Guerra Mundial.

Theresa Harlan es curadora y escritora de fotografia y arte contemporaneo Nativoamericano. Trabaja para el California Arts Council y vive en Vallejo, California.

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CRITICAL MASS A Leading Resource for Photographers

Fall 2002

© Ana de Orbegoso, Invisible Wall series, 2002.

New Works Winners 2002 En Foco, for its Seventh Annual New Works Photography Awards Program, has selected four photographers from a national call for entries. The winners are Felicia Megginson, Hyoungsun Ha and Ana de Orbegoso from New York, and Chin-Wei Jiang from Berkeley, California.

De Orbegoso's project is to continue working on her series. Invisible Wall, a study of external and internal barricades. Born and 34 Nueva Luz

raised in Lima, Peru, she draws upon the city's history and the elimination of the city's walls in the early 20th century. Meant to be a symbol of modernization by integrating the descendants of Spanish nobility with tribal residents, the removal of the wall instead cre­ ated invisible barriers, what she defines as the "separation of different classes from each other, and the individual from society at large."

Photographing in Lima, her subjects vary in ages and backgrounds, protected by a wall of their own making. Faces within large

black and white multiple exposures stare back at us through their hands. The translucency suggests that the subjects stare back attentive­ ly, but still behind the protection of their raised hands.

De Orbegoso lives and works in New York City, where she studied photogra­ phy, cinematography and painting in New York. Recent exhibitions include Galena Obsidiana, Galena John Harriman and Centro Cultural de Espana, in Lima, Peru; AIR Gallery and the Leslie-Lohman Gay Art Foundation in New York, New York.

Megginson explores the concept of identity as it directly relates to her sense of self as an extension of the natural environment. It is a concept that has intrigued her ever since she was a child recognizing her reflection in the mirror.

With time, one learns of associations people make with what they see—how identi­ ty is borne out of sociological and psychologi­ cal factors as well as the environment. In her series Communion, Megginson intermingles nature with images of herself through double exposures, as a metaphor of the black woman regaining a sense of the connection to the earth, as a place of grounding, sacredness and timeless history.

Megginson states that she wants to "unite the idea of nature and the African American woman in a way that moves beyond the bare-breasted images of the abo­ riginal natives still found in National Geographic. Yet I also want to challenge con­ temporary images of the black female form, which are often presented as predatorily sexu­ al and devoid of all sensuality or humanity."

Megginson was born in Los Angeles, California, and received residencies from the Constance Saltonstall Foundation in 2002 and from the Center for Photography in Woodstock in 2001. Recent exhibitions include

the Light Factory, Charlotte, North Carolina; Bronx Museum of the Arts, Bronx, New York; and the Buhl Foundation, New York, New York.

Jiang will continue working on his series of color photographs. Attracted to the eerie stillness after a storm, he carefully chooses to document the subject matter after moments of overwhelming power and agita­ tion. These storms are implied in his photo­ graphs of the peaceful aftermaths.

Photographing at all times of day and night, the odd colors and absence of people add a sense of mystery to his images.

He states, "I have tried to capture images in daylight with the same style I have in my night photographs. Being a dawn/day/dusk/night/24 hour photogra­ pher, I feel that my photos tell a story of the innermost part of who I am."

Born and raised in New York, Jiang recently moved to Berkeley, California. He has exhibited his work at the Queens Art & Education Center in Flushing, NY, and is recipient of the Theresa McCabe Ralston Connor Award in 2000.

Ha's series, Windows, offers another interpretation of inner contemplation in com-

parison to the outside world. He correlates the experience of looking through a window with contemplation and meditation, a way of observing the passage of time. Sometimes the photographs are a reflection of what might be outside, other times you see what the window allows you to see.

Through large gelatin-toned silver prints, his windows are transformed by the elements, the cityscape outside often becom­ ing indistinct and blurred. He exposes the images onto the photographic paper after casting rice and states, “Korean clairvoyants throw rice to foresee the future, yet one must understand the past and present. I throw rice onto the photographic paper with the same approach. All of us are trying to predict what will happen in an unpredictable world. It is an attempt to find hope."

Recent exhibitions include the Korean Cultural Center in Los Angeles, California and Washington, DC; the Buddy Holly Center in Lubbock, Texas; and the Barrett House Galleries in Poughkeepsie, New York.

As part of the New Works Photography Award program, all artists receive technical assistance, photographic materials donated from Lowepro or other

© Felicia Megginson, untitled. Communion series, 2002. Gelatin silver print, 6x9"

Nueva Luz 35

manufacturers, and a $400 honorarium at the completion of their work. A museum-quality exhibition, along with artist talks and a Meetthe-Artists event will take place next spring or summer.

As always, all En Foco events are free and open to the public. We hope our read­ ers will consider attending. Details will be posted online and in the next issue of Nueva Luz. The next New Works deadline is June 2003, with selections to be made by a guest curator. Guidelines will be available in November by sending a self-addressed and stamped envelope to En Foco, or download­ ing it from www.enfoco.org.

ARTIST OPPORTUNITIES EXHIBITIONS/COMPETITIONS Expo XXII, a juried competition in all media except crafts. Juror is Susan Cross, Assistant Curator at the Guggenheim Museum in New York. Winners receive a group exhibition in March of 2003. Submit 6 labeled slides, $35 entry fee, entry form and SASE. B.J. Spoke Gallery, 299 Main Street, Huntington, NY 11743. 631/549-5106. Deadline: November 16.

Emerging Artists 2003, the thirteenth annual international group exhibition, $9,000 in awards. For guidelines send SASE to SlowArt Productions, 870 Avenue of the Americas, New York, NY 10001. Deadline: October 30.

New Jersey Arts Annual, the theme is Cultural Exploration, open to artists living or working in New Jersey, and curated by Willie Cole, artist. Exhibition will take place December through April 2003. Send six labeled slides, resume and SASE along with entry form. For guidelines contact The Morris Museum, 6 Normandy Heights Road, Morristown, NJ 07960. 973/971-3700.

Deadline: November 1.

National Printmaking 2003, exhibition com­ petition scheduled for January-February. Fee is $20 for two slides. Juror is Eileen Foti, Master Printer, Rutgers Center for Innovative Print and Paper. For guidelines contact National Printmaking 2003, The College of New Jersey, Dept, of Art, POBox 7718, Ewing, NJ 08628. Deadline: November 4.

Athica Gallery is reviewing lesbian-themed artworks, including new media and installa­ tion. No fee. For more information contact S. Harbin, attn: Lesbian show, Athica Gallery, Box 1604, Athens, GA 30603. Deadline: October 16. sarahharbin@yahoo.com Gallery 1101 reviews work by emerging artists on an ongoing basis. Send 15 to 20 slides, statement, resume and SASE to

36 Nueva Luz

Nueva Luz Book Signing at the International Center of Photography On July 12, 2002, nearly two hundred supporters, including photographers, members, and friends, joined the En Foco staff at the International Center of Photography in midtown Manhattan. Our mission was to celebrate the publication of the Commemorative Issue of Nueva Luz, to greet old friends, and to see Nueva Luz finally be recognized by the photography establishment.

Several of the guest writers attended, including A. D. Coleman and Deborah Willis. Also in joyful attendance were editor and publisher Charles Biasiny-Rivera and associate editor, Betty Wilde-Biasiny. Daughter Amelia Francesca handed out pens to each photographer and author, who were on hand to autograph this collector's item.

The evening was electrified by the many individuals who, with armfuls of Nueva Luz, rushed about collecting autographs from the photographers and writers present. In fact, ICP's entire supply of the Commemorative Issue sold out by the end of the evening, including those copies gracing the storefront windows.

Each photographer attained a well earned fifteen minutes of fame and had a chance to acknowledge each other's works. The founders Biasiny-Rivera, Roger Caban and Phil Dante were pleased to witness and relish this historical achievement.

Photographers present included Juan Sanchez, Jaishri Abichandani, Valdir Cruz, Sophie Rivera, Frank Gimpaya, and Tone Vazquez, among many others.

Sandra Perez, Executive Director of the Association of Hispanic Arts, and an En Foco Board Member, addressed the audience, affirming En Foco's support of the community for almost three decades. In Biasiny-Rivera's address, he expressed his heartfelt thanks to Tomas Ybarra-Frausto, whose personal encouragement and support led to major funding from the Rockefeller Foundation. In addition to the National Endowment for the Arts, the Department of Cultural Affairs/Challenge Grant and the New York State Council on the Arts were major sources of support.

The Commemorative Issue brings work by 68 artists of Latino, African, Asian and Native American heritage to the forefront in an equitable manner. Additional authors included in the issue were Lucy Lippard and Pedro Meyer.

Some of the happiest people that night were En Foco staff members Miriam Romais, Managing Director, Daniel Schmeichler, Production Coordinator, and Marisol Diaz, Program Coordinator, whose long-term efforts and dedication made the success of this issue and event possible. A special thanks goes to the ICP staff who helped arrange for the event, especially Gigi Loizzo, Director of Retail Operations, and Lacy Austin, Coordinator of Community Programs. see photos ► ► Dimitris Skliris, Gallery 1101, Southern Illinois University, Dept, of Cinema and Photography, Carbondale, IL 62901. d_skliris@hotmail.com Woman Made Gallery seeks submissions for Normal!Abnormal: Bodies and Minds, an exhi­ bition scheduled for January. Juror is Ann Starr, author and artist. For guidelines, con­ tact Woman Made Gallery, 1900 S. Prairie Avenue, Chicago, IL 60616. 312/328-0038.

Deadline: October 26. www.womanmade.org Skin 2003, an exhibition scheduled for March. Fee is $25/3 slides, $5 for each addi­ tional. For guidelines contact Icebox Gallery, 2401 Central Avenue NE, Minneapolis, MN 55418. Deadline: January 1. www.iceboxminnesota.com Visions 2003, is a series of three competi­ tions. Annual Project Competition, jurors are Melissa Harris, editor of Aperture magazine and William Clift, photographer; The Vision Awards, jurors William Clift and Carol McCusker, deadline January 13. Excellence in Photographic Teaching Award, juror Don Gregorio Anton, Associate Professor, Humboldt University, deadline June 20, 2003. For guidelines send SASE to Visions 2003, POBox 2483, Santa Fe, NM 87504.

Revisiting Lewis and Clark's Journey, a national art exhibition scheduled for March. Fee is $30/4 slides. Jurors are Dorothy Fowler, Evelyn Georges, William McKinley Ray and Sue Taylor. For guidelines send SASE to Journey's End National Art Exhibition, POBox 2005, Astoria, OR 97103. Deadline: January 17. www.jsend.org PUBLICATION OPPORTUNITIES Nueva Luz seeks fine art and documentary works by photographers of Latino/a, African, Asian and Native American heritage for pos­ sible publication. Please send 20 images. They may be slides, 8x10" prints, or digital images on a CD. Please include resume, a statement about your work and a self addressed enve­ lope with sufficient postage for the safe return of your work. Send to: En Foco, attn: Nueva Luz, 32 East Kingsbridge Road, Bronx, NY 10468.

RESIDENCIES Light Work offers one-month residencies for US and international photographers. Stipend of $1,200, housing, darkroom and state-ofthe-art computer facilities are provided. To apply, submit slides, resume, statement and SASE to Light Work, 316 Waverly Avenue, Syracuse, NY 13244. 315/443-1300.

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Nueva Luz Commemorative Issue booksigning at ICP. I Window display, 6th Ave, NY 2 Sandra Perez, Executive Director of the Association of Hispanic Arts, addresses the audience while A. D. Coleman listens 3 Thomas Ybarra-Fausto and Charles Biasiny-Rivera 4 Juan Sanchez and Charles Biasiny-Rivera 5 Deborah Willis, Charles Biasiny-Rivera and Gigi Loizzo 6 Shawn Walker, Nadema Agard, Ricky Flores and Nina Kuo signing away 7 En Foco Staff (Betty Wilde, Daniel Schmeichler, Marisol Diaz, Charles Biasiny-Rivera and Miriam Romais).

Nueva Luz 37

New Works Photography Award is given annually to four American photog­ raphers of Native American, Latino, African, Aleutian, Pacific Islander or Asian heritage to create a new project or continue a series. The award consists of an honorarium, photographic materials or supplies, technical assistance and a New York area exhibition. Download the guidelines from www.enfoco.org, or send SASEto En Foco, 32 East Kingsbridge Road, Bronx, NY 10468.

Deadline: June 9, 2003.

Womens Studio Workshop offers fellow­ ships in photography, providing artists with unlimited access to the studio of their choice, for a two to eight week session. The cost of $200 per week helps subsidize the studio operating expenses, and includes on-site housing. Send a proposal, resume, ten slides, proposed dates (March through June), length of fellowship, studio requested and SASE for return of materials. Deadline: November 1.

Millay Colony offers one-month residencies, providing room and board, and a studio. For an application, contact Millay Colony for the Arts, POBox 3, Austerlitz, NY 12017.

518/392-3103.

Islip Art Museum seeks artists creating large-scale, site specific or installation works, for a studio/residency program; a $500 monthly stipend is provided. Send inquiries to Islip Art Museum, 50 Irish Lane, East Islip, NY 11730. www.islipartmuseum.org Jentel Artist Residency Program offers onemonth residencies in a rural setting that includes housing, workspace and a $400 hon­ orarium. Download an application from www.jentelarts.org, or send a SASE with $.57 postage to Jentel Artist Residency Program, attn: Admissions Committee, 11 Lower Piney Creek Road, Banner, WY 82832. Deadline: January 2.

EXHIBITIONS

Street, Woodstock, NY 12498. 845/679-9957.

Through October 20. www.cpw.org Lens Landscape. Museum of Fine Arts, 465 Huntington Avenue, Boston, MA 02115.

617/267-9300. Through February 23, 2003. www.mfa.org Laurent Millet. Robert Mann Gallery, 210 11th Avenue, New York, NY 10001. 212/9892947. www.robertmann.com. Through October 26.

Susan Derges. Paul Kasmin Gallery, 293 Tenth Avenue, New York, NY 10001.

212/563-4474. October 10-November 9.

Gloria: Another Look at Feminist Art in the 1970s. Through October 20. Sabine Weiss.

Through November 2. Klotz/Sirmon Gallery, 511 West 25th Street, 7th Floor, New York, NY 10001. 212/741-4764.

George Daniell, N. Jay Jaffee, Jon Naar and others. Vintage New York Street Scenes from the 1930s-1950s. Sarah Morthland Gallery, 511 West 25th Street, Suite 709, New York, NY 10001. 212/242-7767. Through October 26.

Walter Tutsi Wai BigBee, through November 17. Greg Hill, AlieNation, through November 30. American Indian Community House Gallery, 708 Broadway, 2nd Floor, New York, NY 10003. 212/598-0100. www.aich.org Dan Rice, John McGowan, Lewis Hine, Mohawk Ironworkers: A Photographic Retrospective. National Museum of the American Indian, One Bowling Green, New York, NY 10004. 212/514-3700. Through October 31.

Stuart Rome, Yukio Oyama, Junglin Lee. Sepia International, 148 West 24th Street, Eleventh Floor, New York, NY 10011.

212/645-9444. Through November 16.

Anderson & Low, Earth, Air, Water, Fire. John Stevenson Gallery, 338 West 23 Street, New York, NY 10011. 212/352-0070. Through October 29. www.johnstevenson-gallery.com

Vivian Babuts, Julie Magura, Chad Reagan and JP Crangle, 2002 Light Work Grants. Lori Nix. Light Work Gallery, 316 Waverly Avenue, Syracuse, NY 13244. 315/443-1300.

November 1-January 1. www.lightwork.org

Peter Cain, More Courage and Less Oil. Matthew Marks Gallery, 522 West 22nd Street, New York, NY 10011. 212/243-0200.

Through November 16.

Errol Daniels and Jorge Guitart, Cuba: Getting Closer. El Museo, 91 Allen Street, Buffalo, NY 14202. Through October 11. www.elmuseobuffalo.org

Bernard of Hollywood, The Ultimate Pin-Up. Staley/Wise Gallery, 560 Broadway, New York, NY 10012. 212/996-6223. Through October 26.

Kenro Izu, Nina Kuo, Phyllis Galembo and others. Constellation: Marking CPW's First Twenty-Five Years. Skowman Hastanan, Bart Michaels, Jodie Jacobson and others.

Constellation Selects: Seven Emerging Artists Selected by Artists in Constellation. The Center of Photography at Woodstock, 59 Tinker

David Gibson, Solitary Places. Edward Carter Gallery, 560 Broadway, Suite 406, New York, NY 10012.212/966-1933. Through November 9.

38 Nueva Luz

David Chalk, The Unseen Landscape; Tom Davies, Urban Wilderness; Joel Morgovsky, Asbury Winter; Mitchell Zykofsky, New Color

Work; Tim Barnwell, The Face of the Appalachia: Portraits from the Mountain Farm, all through November 2. H. Butz, Clouds.

November 5-30. Soho Photo, 15 White Street, New York, NY 10013. 212/226-8571. www.sohophoto.com Bob Kolbrener, Yosemite. Soho Triad Fine Arts, 107 Grand Street, New York, NY 10013.

212/965-9500. Through October 20.

Lia Chang, Corky Lee and others. Recovering Chinatown: The 9/11 Collection. Museum of Chinese in the Americas, 70 Mulberry Street, 2nd Floor, New York, NY 10013. 212/6194785. Through Febuary.

Gordon Stettinus. Robin Rice Gallery, 325 West 11th Street, New York, NY 10014.

212/366-6660. Through October 26.

Manuela Oprea. E3 Gallery, 47 East 3rd Street, New York, NY 10003. 212/982-0882.

October 24-November 2. www.e3gallery.com Virginia Beahan and Laura McPhee, The Country Between Us. Wynn Bullock, Selected Nudes. Laurence Miller Gallery, 20 West 57th Street, New York, NY 10019. 212/397-3930.

Through November 2.

D.F. Connors. GalleryV!, 1700 Broadway, 16th Floor, New York, NY 10019. 212/5547438. Through November 1.

Edward Grazda and Douglas Sandhage, New York Masjid: The Mosques of New York City. Open Society Institute, 400 West 59th Street, New York, NY 10019. 212/548-0600.

Through December 20.

Betye Saar, Colored: Consider the Rainbow.

Michael Rosenfeld Gallery, 24 West 57th Street, New York, NY 10019. 212/247-0082.

Through November 2.

Jeff Wall. Marian Goodman Gallery, 511 West 57th Street, New York, NY 10019.

212/977-7160. Through November 2.

Georgiana Houghton, Invisible Beings.

Marvin E. Newman, Shadows. Keith de Lellis Gallery, 47 East 68th Street, New York, NY 10021. 212/327-1482. Through November 14.

Abelardo Morell. Bonni Benrubi Gallery, 52 East 57th Street, New York, NY 10021.

212/517-3766. October 10-December 7.

Valdir Cruz, Rainforest. Throckmorton Fine Art, 145 East 57th Street, New York, NY 10022. 212/223-1059. October 17-November 30. www.throckmorton-nyc.com Dieter Appelt, Fazal Sheikh. Pace/MacGill, 32 East 57th Street, New York, NY 10022.

212/759-7999. Through October 19.

Camilo Jose Vergara, Twin Towers

Remembered; Kevin Bubriski, Pilgrimage: Looking at Ground Zero. The New York Historical Society, 2 West 77th Street, New York, NY 10024. 212/873-3400. Through October 20.

Ken Heyman. American Museum of Natural History, Central Park West at 79th Street, New York, NY 10024. 212/769-5000. Through November.

Richard Avedon, Portraits. Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028. 212/570-3951. Through January 5, 2003.

Joel Meyerowitz, The City Resilient, through November 11. Harry Fine and others, Rafces: The Roots of Latin Music in New York City, through January 26, 2003. Steve Hoffman, The Lubavitch of Brooklyn: An Intimate Portrait, October 20-February 2, 2003. The Museum of the City of New York,1220 Fifth Avenue, New York, NY 10029. 212/843-8061. www.mcny.org Edward J. Kelty, Step Right This Way. Garry Winogrand, Winogrand 1964. The International Center of Photography, 1133 Avenue of the Americas, New York, NY 10036. 212/857-0045. Through December 1.

Dorothea Lange, Duplicate Prints from the 1966 Retrospective at the Museum of Modern Art. Edwynn Houk Gallery, 745 5th Avenue, New York, NY 10151. 212/750-7070. Through November 2.

Rudy Burckhardt, A Walk though Astoria and Other Places in Queens. MoMA QNS, 33 Street and Queens Boulevard, Long Island City, NY 11101. 212/708-9400. Through November 4.

Lewis Baltz. Princeton University Museum, Princeton, NJ 08544. 609/258-3788. Through January 19.

Andrew Borowiec, Along the Ohio. Silver Eye Center for Photography, 1015 East Carson Street, Pittsburgh, PA 15203. 412/431-1810.

Through October 26. www.silvereye.org Mel Bochner, Photographs, 1966-69. The Carnegie Meseum of Art, 4400 Forbes Avenue, Pittsburgh, PA 15213. 412/622-3131.

October 10-January 12.

Ansel Adams. Archetype Gallery, 22 South 8th Street, Allentown, PA 18001. 610/8209300. Through November 10.

Bill Hayward, Bad Behavior. Skillman Library, Lafayette College, Hamilton and High Streets, Easton, PA 18042. 610/330-5401.

Through December 31.

Mel Rosenthal, Americans by Choice: Photographs of Arab-Americans in New York.

Allentown Art Museum, Fifth and Court Streets, Allentown, PA 18105. 610/432-4333.

Through October 27.

Kathleen Laraia McLaughlin, Joel Salcido, Ron Evans, Lisa Folino and others. Best of Show: The Photo Review 2002 Competition Prize Winners. Gallery 1401, The University of the Arts, 211 South Broad Street, 14th Floor, Philadelphia, PA 19102. 215/717-6300.

Through November 8.

Damian Ortega, Cosmic Thing. Institute of Contemporary Art, 118 South 36th Street, Philadelphia, PA 19104. 215/898-7108.

Through December 15.

Michele Brady, Jim Toia, Yukinori Yanagi and others. Made by Nature. Dorsky Gallery, 11-03 45th Avenue, Long Island City, NY 11101. 718/937-6317. Through October 27.

Andrea Baldeck, Closely Observed, Photographs of the Natural World. The Morris Arboretum, The Upper Gallery, Widener Visitor Center, 100 Northwestern Avenue, Philadelphia, PA 19118. 215/247-5777.

Through October 20.

Zelma, Vdovienko, Alpert and others, Soviet War Photography: The Eastern Front. Howard Schickler Gallery, 45 Main Street, Studio 402, Brooklyn, NY 11201. 212/431-6363. Through October 31.

Paula Chamlee, Natural Connections. Open Lens Gallery, Gershman Y, 401 South Broad Street, Philadelphia, PA 19147. 215/446-3027.

Don Burmeister, Every Gallery in Williamsburgh and Greenpoint. Safe-T-Gallery, 134 Bayard Street, Brooklyn, NY 11222.

718/782-5920. Through November 2.

Phyllis Galembo, Manifestations of the Spirit: Photographs of Afro-Brazilian Religion. The Newark Museum, 49 Washington Street, Newark, NJ 07101. 973/596-6550. Through December 29.

Richard Wright, A Tribute to New York.

Perkins Center for the Arts, 395 Kings Highway, Moorestown, NJ 08057. 856/2356488. Through November 17.

Shoha Pahrek, The Language of This Town.

Colourworks Photo/Art Space, 1902 Superfine Lane, Wilmington, DE 19802.

302/428-0222. Through October 31.

Here is New York: A Democracy of Photographs.

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

Through November 11.

Frans Lanting, Jungles. Explorers Hall, National Geographic Society, 1145 17th Street NW, Washington, DC 20036. 202/857-7588.

Through Febuary 2.

Nueva Luz 39

Kenro Izu, Sacred Sites: Silk Road Photographs.

Arthur M. Sackler Gallery, 1050 Independence Avenue SW, Washington, DC 20560. 202/357-2700. Through January 5.

Mark Ruwedel, Pictures of Hell. John Ganis, Consuming the American Landscape. Blue Sky Gallery, 1231 NW Hoyt, Portland, OR 97209.

503/225-0210. Through November 2.

Ana de Orbegoso, Directo al Corazon/Straight to the Heart. Arts/Harmony Hall Regional Center, 10701 Livingston Road, Fort Washington, MD 20744. 301/203-6070.

Through October 26. www.pgparks.com

Barbara Morgan, Retrospective.The Camera Obscura Gallery, 1309 Bannock, Denver, CO 80204. 303/623-4059. Through November 3. www.cameraobscuragallery.com

Mick Rock, Moonage Daydream: The Life and Times ofZiggy Stardust. Mission Space, 338 North Charles Street, Baltimore, MD 21201.

410/752-8950. Through October 26.

Richard Misrach, Fazal Sheikh, Sally Mann and others. In Response to Place: Photographs from the Nature Conservancy's Last Great Places.

High Museum of Art, Georgia Pacific Center, 30 John Wesley Dobbs Avenue, Atlanta, GA 30309. 404/733-4437. Through January 4. www.high.org Jessica Craig-Martin, Lucinda Devlin and Daniela Rossell, Excess. Palm Beach Institute of Contemporary Art, 601 Lake Avenue, Lake Worth, FL 33460. 561/582-0006. Through November 14. www.palmbeachica.org Sally Mann, Yucatan. Catherine Edelman Gallery, 300 W. Superior Street, Chicago, IL 60610. 312/266-2350. Through November 9. www.edelmangallery.com

Dominic Rouse, Maggie Taylor and Jerry Uelsmann, Imagined Realities, through October 12. David Johnson and Ralph Gibson, October 15-November 24. Luciene Bloch, David Fokos, November 26December 5. Benham Gallery, 1216 1st Avenue, Seattle, WA 98101. 206/622-2480. www.benhamgallery.com The Photographic Impulse. Henry Art Gallery, University of Washington, 15th Avenue NE & NE 41st Street, Seattle WA 98195. 206/5432280. Through November 11. www.henryart.org

Delilah Montoya, Miguel Gandert and oth­ ers, Ahora: New Mexican Hispanic Art. National Hispanic Cultural Center, 1701 4th Street SW, Albuquerque, NM 87102. Through January 5.

Gaye Chan, Flagrante Delicto. The Contemporary Museum, 999 Bishop Street, Honolulu, HI 96813. 808/526-1322. Through February 4. www.tcmhi.org

Janine Antoni, taught tether teeter. SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe, NM 87501. 505/989-1199. Through January 5.

Martin Sorrondeguy, Ms. Miss Mr. Social Public Art Resource Center, 685 Venice Boulevard, Venice, CA 90291. 310/822-9560.

Through October 22. www.sparcmurals.org

MISCELLANEOUS Free Photography Classes for youth ages 1017. For registration contact Focal Point Gallery, 321 City Island Avenue, Bronx, NY 10464. 718/885-1403.

Daniel Joseph Martinez, Without Anesthesia OR This Isn't A Nice Neighborhood. SF Camerawork, 1246 Folsom Street, San Fransisco, CA 94103. 415/863-1001. October 29-November 30.

Fundamentals of Arts Management at the University of Massachusetts. Courses include planning, board development, fundraising, marketing and programming. Completion of four online courses result in a Certificate of Arts Management. Contact Arts Extension Service, Division of Continuing Education, UMass, 358 N. Pleasant Street, Amherst, MA 01003-9296. www.umass.edu/aes

David Parker, The Phenomenal World. Robert Koch Gallery, 49 Geary Street, San Fransisco, CA 94108. 415/421-0122. Through November 2. www.kochgallery.com

Pamela DeMarris, The Hidden Self. John Michael Kohler Arts Center, 608 New York Avenue, Sheboygan, WI 53082. 920/458-6144.

Through November 17. www.jmkac.org Javier Carmona and others, Xicdgo. Mexican Fine Arts Center Museum, 1852 West 19th Street, Chicago, IL 60608. 312/738-1503.

Through November 3. www.mfacmchicago.org Andrew Ortiz, Disconnection/Reconnection.

Houston Center for Photography, 1441 West Alabama, Houston, TX 77006. Through October 27.

Dick Blau, Valentino Mauricio, Rick Olivier, Al Rendon, Squeezbox: Accordion Communities in the United States. Witte Museum, 3801 Broadway, San Antonio, TX 78209. 210/357-1900. Through January 5. www.whittemuseum.org Ansen Seale, Circumference: A Panoramic View of San Antonio Architecture. Airport Air Spacers, Terminal 2, San Antonio, TX 78283.

210/207-3450. Through December 31.

REVIEW: 1< LATIN MERICAji LITERATI! INI) art; :5i X ~

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Albert Chong, Family Love. Zora Neale Hurston National Museum of Fine Arts, 227 East Kennedy Boulevard, Eatonville, FL 32751. 407/647-3307. Through November 22. www.zoranealehurston.ee

40 Nueva Luz

REVIEW: LATIN AMERICAN LITERATURE AND ARTS P. 0. Box 3000 Denville, NJ 07834-9481 (Make checks payable to the Americas Society, Inc.) Tel 1.800.783.4903 http:///www. Americas-Society.org

3

REMEMBERING MARIANA YAMPOLSKY 1925-2002

© Alberto Rodriguez-Robles. Mariana Yampolsky and Jack Delano at En Foco's Intercambio 1995.

Mariana Yampolsky has passed away, that wonderful and witty woman whose photographs are like children: innocent and lovely. Though she has now become part of history and memory, the photographs she left behind can con­ tinue to inspire and amaze us.

She immigrated to Mexico in the mid-1940s and became part of that incredible artistic exuberance that took place during the 1940s through the 1960s. Working first as a printmaker, she co-edited Lo Eterno del Arte Popular Mexicano with Manuel Alvarez Bravo. In 1948, she became immersed in photography and began to study with the photographer Lola Alvarez Bravo.

I met her in 1995 and invited her to speak at Intercambio, En Foco's then annual seminar in Puerto Rico. She so inspired the women photographers there that they produced an exhibition of their own. While in Puerto Rico, she met Jack Delano and they shared memories of their immigration to different cultures (Jack had moved to Puerto Rico during the mid-1940s). En Foco published special Mentor Issues of Nueva Luz that honored each of them, citing their talents as artists and also as caring individuals.

Mariana's rich life is apparent in her photographs, which brim with discovery, care, and the magic of her adopt­ ed land. The sadness of her passing is lessened by the legacy she leaves behind.

Charles Biasiny-Rivera

Nueva Luz 4 I

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e loto low

co FEBRUARY 7-9,2003 New York Hilton, Midtown, NYC

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The World’s Premier Exposition ofFine Art Photography with Eighty International Dealers •j it* ll! • ,M! M

Exhibitions Friday, February 7 and Saturday, February 8,12-8pm Sunday, February 9,1 lamGpm $20/One day; $30/Three days

IU II .1 II .III

(Indudes AIPAD’s 2003 Directory & Illustrated Catalogue)

Benefit Preview Thursday, February 6 to support The Department ofPhotographs, The Metropolitan Museum ofArt Tickets: 6pm: $750/$ 150; 8pm: $50

Special Hotel Rates Call 1-800-HILTONS: mention AI PAD,The Photography Show 2003 Stieglitz, Allred (1864-1946) From the Window ol 291. The Metropolitan Museum of Art. Allred Stieglitz Collection, 1949.

THE ASSOCIATION OF INTERNATIONAL PHOTOGRAPHY ART DEALERS

1609 Connecticut Avenue, NW Washington, DC 20009 Tel: 202.986.0105 Fax: 202.986.0448 E-mail: aipad@aol.com

www.photoshow.com

42 Nueva Luz

Print Collectors’ Program

Mariana Yampolsky, Elva, Huejotziongo, Puebla, 1962. Gelatin silver print, 10 x 10”. $400 Kathy Vargas, untitled, Oracidn: Valentine's 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, an artist biography, an artist statement, and a complimentary subscription to Nueva Luz (or a membership 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 Silver Print, 13x19” $300

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

To view additional prints, visit www.enfoco.org

Nueva Luz 43

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40th National Conference in Austin, Texas March 20-23, 2003 at the Hyatt Regency Hotel Get ready for American Vision, SPE's 40th National Conference scheduled for March 20-23, 2003 in Austin, Texas.

The Hyatt Regency, in the heart of Austin’s downtown, will be the conference headquarters for our exciting lineup of speakers, bustling exhibits fair and ever-popular portfolio reviews. Our main speakers have been confirmed. Over forty additional speakers will be announced soon. ★★★ Joel Meyerowitz, a photographer famous for his views of American landscapes, will deliver Thursday night’s introductory keynote address. Anne Tucker is a curator at the Museum of Fine Arts Houston and was recently recognized by Newsweek as one of the top curators in the US. Ms. Tucker will be the featured speaker in Austin. Evon Streetman will be celebrated as the honored educator. ★★★ Get ready for thought-provoking lectures on a smorgasbord of contemporary photography issues, presentations by cutting edge imagemakers on their stunning work, and heated panel discussions by respected experts in the field. The exhibits fair provides attendees the opportunity to learn more about the latest equipment, technologies, publications, and support organizations. Job place­ ment services, workshops, one-on-one portfolio reviews and group portfolio sharing sessions are additional features at the conference, and all of this in the celebrated “music capital of the nation.” It’s an event not to be missed.

Become an SPE member today! Membership benefits include the Membership Directory/Resource Guide, quarterly newsletters, the critical journal exposure, reduced rates for national and regional conference attendance, access to the Fine Print Collectors Program, and more.

Membership forms may be downloaded from our website.

For conference details, please visit our website, 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.

44 Nueva Luz

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