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Fotofest 94 CI003992 PDF
Fotofest 94 CI003992 PDF
FESTIVAL
01Photography
N
OVEM
3 O
FOTOFE ST
FOTOFEST
IS
APPRECIAT I O N
N ONP R OFIT
FO R
ART S
AND
FOTO FE ST
ES
APREC IA C I O N
UNA
AND
POR
EL
DE
ART E
ORGA NI ZAT I ON
I NT E RNATI O NAL
LIT ERACY
PUBL I C A
EDU C ATION
ART .
THROUGH
ARTE
E DU CACIO N
TRAV ES
THAT
PROMOTES
C ROS S -C ULTURAL
PUBLI C
EX CHAN GE .
PHOTO GRAPHY .
FOTOGRAF I CO.
ALFABET I ZAC I O N
AN D
D E
EL
LA
N O
LUCRATIVA
INT E R C AM B IO
FOTO G RA F IA .
QUE
PRO MUE VE
I N TE RNA C I O N AL
L A
L A
The 1994 catalogue is dedicated to three people who have been important in promoting good photography and the interests of
artists. Their work is al so characterized by integrity and intelligence: Henry Brimmer, publisher and founder of Photo Metro
magazine; Andreas Muller-Pohle. photographer and publisher of European Photography magazine; Stefania Bril. Brazilian critic and
curator, who died suddenly in 1992.
El catlogo de 1994 est dedicado a tres importantes personas en la promocin de la buena fotografa y del inters de los
l'
~0
-<lG
artistas. Su trabajo est tambin caracterizado por integridad e inteligencia: Henry Brimmer, editor y fundador de la revista Photo
Metro; Andreas Muller-Pohle. fotgrafo y editor de la revista European Photography; Stefanla Brill. crtica brasilea y curadora.
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Fr~cJ 80/ j.; 111.
I t, TECA
FotoFest
Innova Design Center
20 Greenway Plaza. Suite 368
Te! 713 840-971 I
Fax 713 840-7638
ISBN 0-9619766-3-2
FotoFest. Inc.
AII rights reserved
Design: Pennebaker Deslgn
Production: Sandy Mooneyham
Printing: Champagne Fine Printing and Lithographing. Houston. Texas
FOTOFES T
S P O N SORS
u.s. _
JA & Isabel M.
Elkins Foundation
IN - KIND
CO N TRIBUTIO N S
Weingarten Realty
Pennebaker Design
David Berman Films. Inc.
BDO Seidman
The National Geographic Society
NASA
World Resources Institute
O R GA NI ZERS
ORGANIZADORE S
In addition to the three principal exhibits at the George R. Brown Convention Center in Houston, November
10-30, 1994, FotoFest is sponsoring bilingual docent tours, visits by exhibiting international artists to inner-city
classrooms, and special programs for universities and civic organizations.
Adems de la tres exhibiciones principales en el Centro de Convenciones George R. Brown en Houston.Tejas. del
10 al 30 de noviembre de 1994. FotoFest est patrocinando visitas guiadas bilinges. visitas de algunos de los
artistas participantes de otros pases a escuelas de la ciudad, y programas especiales para universidades y
organizaciones cvicas.
BOARD OF DIRECTORS
STAFF
CATALOGUE
D AVID F. B ROWN
L IZ B RA N CH
Educouon Director
Editor
C HRIS B REWSTER
A LAN R. B UCKWALTER
111 . C HAIRMAN
R ICHARD B UDAY
M ICHAEL
A.
D IANE B AR BER
Exhlbl1lOnslPub/lcotlons Coordtnator
C AROLYN R ICHARDS
C ADDELL
N ANCY B oYE
AssoClate Editor
EDUARDO M uoZ
CONSULTANTS
M ARY K AY C AS EY
PAUL B . C LEMENCEAU
G REGG M ANKILLER
T RACEY D . C O N WELL
H ERMAN E . D ETERIN G
111
S USANNA S HEFFIELD
M AYRA S IMON
Edltofla/ AssIstants
R ICHARD D UNCAN
D OMINIQUE S MOOKLER
N ANCY D UNLAP
M edia Re/auons
JEAN B ARBER
SUSANNA S HEFFIELD
T OM C URLEY
P ATSY C URLEY
C.
M ARNIE L AMBERT
(Eng/Ish Trans/al'ons)
D ENlsE L ANCASTER
K EMPNE R
Communtty Outreach
A UCE R OWLANDS
P AULA W IRTH
Blography Compl/auon
D AVID j . K IRKPATRICK
R HO N DA E N CK
Vo/unteers
M . j . B ARNES
M ELA NI E L AWSON
Proo(reader
B ETTI M ALDONADO
j EFFREY M C K AY
M ALDONADO C ONSULTING
M arkettng
SANDY M OONE YHAM
j OHN E. PARKERSO
W ARD P ENNEBAKER
Productlon Artlst
Pennebaker DeSlgn
R . STAN P IERINGER
P ETER B ROWN
L AURA STO KES
A NNE W . T UCKER
SUSAN FOSTE R
C UNT W ILLOUR
M ARKETING M ASTERS
Artlsuc AdvlSors
Marke ting
W . T EMPLE W EBBER
W ARD P ENNEBAKER
111
4
CO NTENTS
THE
FIRST
PHOTO
THE
FIFTH
INTERNATIONAL
FESTIVAL
OF
PHOTOGRAPHY
INTRODUCTION
THE
AM E R IcAN
RI CA N
U.S.
THE
17
18
41
P HOTOGRAPHY
AM ER I CA N
GLOBAL
IN
P HOTOGRAPHY
59
P HOTOGRAPHY
77
ENVIRONMENT
78
80
I NTROOU C TION
IM AGES
T H E
OF
THE W
H AL L
E ARTH
O F
OR LO
105
G LO B ES
1 15
FORUM
FASHION:
115
EVOLUTION/REVOLUTION
OF
S O NG S OF
TEXAS
S ALLY
FINE
M y
151
ARTS,
154
GALLERY
G A LL :
N EW
P HO TOGRAPHS
CONTEMPORARY ARTS
S O PH I E
C ALLE:
GALVESTON
W
153
HOUSTON
P EOPLE
ORK IN G
155
MUSEUM
R OMA N CES
COUNTY
HISTORICAL
TH E W ATERFRO N T
ON
156
MUSEUM
FI LM
157
HERMES
A RNAUL T
j O UBIN: TH E
GOETHE-INSTITUT,
A
S ECO NO
S TUOIO
L OOK: W
R INGL
&
P OWE R
GERMAN
OMEN
P IT:
OF
L OOKING
CULTURAL
CENTER
AN O
160
SM OKE : T H E
KU WA I T
O IL
E LL
F IRES
162
D AUGHHETE E
LAWNDALE ART
K o
YAMAOA:
GALVESTON
W HER E
IN
M y
158
1928-1933
FOTOZEUM
M ARK
HOUSTON
P HOTOGRAPH E RS".
B E R L IN
NATIONSBANK
F IRE
OF
H AvE
AND
PERFORMANCE
R EFLECTEO
ARTS
Y o u
F AT H ER'S
CENTER
164
I O E N T ITY
166
CENTER
G O N E,
S WEETEST
J OE
D I M AGG I O ?
D REAM S
RICE
MEDIA
F ACTS
AND
F ABLES
BY
HOUSTON
CENTER
P ICTURING
A SIA
FIREHOUSE
O UT
OF
L U I S M ED INA
FOR
170
PHOTOGRAPHY
A MERICA:
C OMMUNITIES ,
C ULTUR E ,
D IFfERENCE
172
GALLERY
THE
S KY:
P ORTRAITS
CHILDREN'S
MUSEUM
F ESTIVALS
LI GH T
OF
McMURTREY
K E I TH
168
CENTER
OF
R USSIAN
AND
A MERI CA N
P ILOTS
OF WWII
173
1994
174
GALLERY
C ARTER
OF
GALLERY,
PHOTOGRAPHY
MUSEUM, AND
HOUSTON,
SEWALL ART
GALLERY,
F OUR
M AsTER
E RWITT,
AND
C YNTHIA
INMAN
ART
SPRING
RIcE
175
SPACE
SHOWS
DURING
176
'94
178
UNIVERSITY
B RAvo,
D OISNEAU,
KERT ESZ
F LAT
180
GALLERY
J AN E H IN TON
A MY
B 'LAK E MOR E
N EW
AT
RICHMOND
FOTOFEST
AT
FOTOFEST
F OUR
P H O TO G RAPHY
MILBY
HIGH
W EIL: T H E AIDS
S CALA
HALL, THE
MENIL
COLLECTION
G ENERATION
C ONTEMPORARY
B RIA N
183
AT
FROM
C UBA
184
SCHOOL
202
P HOTOGRAPHS
THE WORTHAM
CENTER
2 10
DI VA
D ECADES
O F
G U I LLERMO
KAHL O
FOTOFEST
IN
C ONSTANTINE
M EX I CA N
204
H ISTORY
208
GALVESTON
M ANo s :
2 13
P H O TO G RAPH E R
THE
W HAT
D REAM S M ADE
ARE
ARTISTS
AND
EYES
OF
CURATORS
214
CHILDREN
O F?
R EBECCA
C A NTU
216
218
BIOS
ACKNOWLEDGEMENTS
230
INDEX
236
TheFirSL
-P
FOUNO! AFTER YEARS OF SEEKING,
hoto
Helmut Gernsheim revealed to the public the world's "First Photo" in I 952.The heliographic process
invented in 1826, by Joseph Nicphore Nipce is as intriguing today as it was when Nipce first wrote, in a letter to his brother Claude,
that he had succeeded in "fixing permanently an image from nature."
The process, appropriately named "heliography" [helios meaning sun and graphein denoting writing or drawing]. was intended as a means
of producing images with light-sensitive substances. Nipce produced his best results by coating his materials with a solution of bitumen of
Judea. After years of experimentation, the chemical process, the power of the camera, the quest for permanence, and the combined
curiosity and clarity of the inventor, all came together. He placed the coated pewter plate into a camera focused upon the sunlit scene
looking out from the third -floor window of his house.The exposure is recorded as having been around eight hours in duration, and the
resulting image , when developed in oil of lavender and turpentine, was a direct positive.
Nipce's "point de vue" of the courtyard of his countr y estate, Gras, France, disappeared after being exhibited at the Crystal Palace
Photographic Exhibition, 1898, London.The tantalizing search for the world's " First Photo" led noted photo-historian and collector Helmut
Gernsheim through a maze of openings and dead ends until finally in early 1952 he received a letter from an heir of H. Baden Pritchard,
who had purchased the camera picture in 1924. Mrs. Pritchard's letter said, "The Nipce photographs have been found." When they finally
met, Gernsheim reports that Mrs. Pritchard handed him a "handsome mirror in a broad gold frame and said, 'That's it.You will be disappointed, but I had warned you that there was nothing left of a picture.' '' Gernsheim was not to be disappointed this time. He took the
pewter plate to the window and increased its angle to the light until "suddenly the entire courtyard scene unfolded itself."
The N ipce heliograph was turned over to the Harry Ransom Humanities Reasearch Center at the University of Texas at Austin upon
the purchase of The Gernsheim Collection in 1963. Since that time, viewing of the Nipce courtyard image has been possible only at the
Ransom Center.
It is with great pleasure that FotoFest and the Harry Ransom Center, with help from 3M Corporation, present the world's "First Photo"
to the public at the Fifth International Festival of Photography, Houston,Texas, 1994.
Roy Flukinger
La primera fotografa
iEncontrada! Despus de aos de bsqueda, Helmut Gernsheim divulg de nuevo en 1952, la "Primera fotografa" del mundo. El proceso
heliogrfico inventado por Joseph Nicphore Nipce es tan intrigante hoy como lo fue cuando Nipce escribi, en una carta a su hermano,
que haba logrado "fijar permanentemente una imagen de la naturaleza."
El proceso, acertadamente llamado "heliografa" [helios significa sol y graphein denota escribir o dibujar], fue hecho con la intencin de
reproducir imgenes con sustancias sensitivas a la luz. Nipce obtuvo sus mejores resultados al cubrir los materiales con una solucin de
bitumen de Judea. Despus de muchos aos de experimentar, todo se combin, el proceso qumico, el poder de la cmara, la bsqueda
por la permanencia, y la curiosidad y claridad del inventor. Nipce coloc la placa de peltre dentro de una cmara enfocada a la escena
iluminada por el sol, desde la ventana del tercer piso de su casa. Los registros dicen que la exposicin dur ocho horas, y la imagen que
result, cuando fue revelada en aceite de lavanda y turpentina, fue una positiva directa.
La imagen de Nipce del point de vue del patio de su casa de campo en Gras, Francia, desapareci despus de haber sido exhibida en la
7
T HE
FIRST
PHO TO
Crystal Palace Photographic Exhibition 1898 en Londres. La atormentada bsqueda por la "Primera fotografa" del mundo llev al
reconocido historiador de la fotografa y coleccionista, Helmut Gernsheim, a travs de un laberinto de enredos hasta que finalmente a
principios de 1952 recibi una carta de la heredera de H. Baden Pritchard, quien haba comprado la foto en 1924. La carta de la Sra.
Pritchard deca, "Las fotografas de Nipce han sido encontradas." Cuando finalmente se conocieron, dice Gernsheim que la Sra. Pritchard
le dio un "bello espejo en una gran marco dorado y dijo 'Ah est. Estar desilusionado, pero le advert que no haba nada de imagen'."
Gernsheim no se desilusion esta vez. Acerc la placa de peltre a la ventana y la inclin hacia la luz hasta que "repentinamente la escena
del patio se revel."
La hel iografa de Nipce fue trasladada al Centro de Investigacin en Humanidades Harry Ransom de la Universidad de Tejas en Au st in,
con la compra de la Coleccin Gernsheim en 1963. Desde entonces, slo ha sido posible ver la pieza de Nipce en el Centro Ran som.
Es con mucho placer que FotoFest y el Centro Harry Ransom, con la ayuda de 3M Corporation, presentan la " Primera fotografa" del
mundo en el Quinto Festival Internacional de Fotografa en Houston,Tejas en 1994.
Roy Flukinger
NI CE P HORE NI EPCE
Vw from th" Window
(J I
Gras
c. 1826
Gernsheim Collection
Th e Uni vers iry o fTexas :u AUSlin
FOTOFEST
'94
THE
F IF TH
I N TERNA T IO N AL
FESTIVA L
OF
P HOTOGRAPHY
IN TROD UCTION
""Wh
a~e 1ogie?~~VE
Creating a festival is like shaping a season of operas. There isn't always a straight line between one production and the next, but as a
whole they should represent a breadth of creative vision- a reflection of the range and richness of the medium and its relationship to
life. Some productions wi ll be reconfigurations of the past; others wi ll take curious audiences into the future.
Like opera, photography follows classical formulation and defies it. It is often the juxtaposition of classical and avant-garde that
brings about the greatest surprise and, correspondingly, the greatest range of artistic experience.The triad of shows orchestrated by
FotoFest for the Fifth International Festival of Photography represents a concatenation of interests and ideas related to art, politics,
history, and, in one case, the future of human society Taken together, American Voices: Latino Photography in the U.S., The Global Environment, and Fashion: EvolutionlRevolution offer arare opportunity to encounter a season's worth of art, science, and cross-cultural history.
The American Vo ices exhibition comes out of a longstanding interest in Spanish-Ianguage cultures and the pre-Columbian/colonial
experience of the Americas. Being aware of good Hispanic/Latino work in the United States that has never qu ite attained mainstream
visibility, we wanted to create a forum w hich could promote recognition of the diverse creative voices w ithin Latino photography and
acknowledge t he importance of Latino photography in this country There have been programs of this scope relating to Latino
painting, film, and video, but America n Voices is the first to present such a range of work in photography.
American Voices has been arare cross-cultural collaboration between four Latino curators and thirty-nine Latino artists from
the three oldest and largest Spanish-Ianguage cultures in the United States- Mexican American, Puerto Rican, and Cuban American.
The exhibit references four hundred years of cultural history from the Afro-Caribbean experience of slavery and santera to the early
years of the farmworkers' movement in California and Chicano life on the streets of Los Angeles. Although most of the work in thi s
exhibition is contemporary, three generations of photographic history are represented: from Bertha Rodriguez's early studio work in
the barrios of San Antonio and Jack Dlano's WPA documentary photographs of Puerto Rico to computer-generated imagery by
Martina Lopez, a recent graduate of the A rt Institute of Chicago, and mixed-media installations by Arturo Cuenca, a recent migr
from Cuba and Mexico. Structured as a dialogue between Latino curators and artists reaching across many genres of creative
expression, thi s exhibition challenges conventional attitudes about Latino photography in the U.s.
The Global Environment is intended to stimu late global thinking about the environment and w hat we are doing to the earth.
The exhibition, presented in t hree part s, also reflects how the nature of imaging has changed and the ways in which imaging is used
to impart information.
Images o( the World presents work of twenty-three artists from Latin America, Japan, Europe, and the United States. The work
ranges from straight photography to staged and conceptual tableaux.
The Hall o( Globes is a three-dimensional installation by German artist Ingo Gnther, who takes the traditional globe as a basis for
new cartographic depictions of the global economy, geopolitics, population, and the relationship of human society to the earth's
reso urces. The globes, illuminated from the inside, stand in a darkened room as if suspended in space. Representing myriad ways to
9
INTRODUCT I ON
envision the earth, they challenge the idea that geography is a science or that there is one right way to see the w orld. Gnther's globes
bring together the past, the present and the future. This is the first U.S. showing of thi s work.
The Earth Forum is a simulation of the information highway of the future, with six world workstations each representing a different
continent and one of the earth's resources essential to survival. The world workstations give viewers instant access to images and
environmental databases from the National Geographic Society, NASA, the World Resources Institute, and Robert Fox's popu lation
research.This part of The Global Environment has been developed with the Houston Museum of Natural Science (HMNS). After the
Festival, FotoFest will give the Earth Forum to the Museum as a permanent earth education center for the public.
In the American Voices exhibition, Latino artists and curators are countering traditional definitions of photography by incorporating
mixed-media, computer-generated imagery, video, and three-dimensional installation work alongside paper-based imagery. The Global
Environment traces the evolution of imaging from earth to space and the ways electronic and satellite technologies have transformed
the ways visual images convey information about the world.
Photography has also defined, defied, and transformed the way we perceive beauty. The third exhibit. Fashion: EvolutionlRevolution ,
traces how ideas of style and beauty have changed during the nine decades since the turn of the century. Curated by Etheleen Staley
and Taki Wise of Staley Wise Gallery in New York, the show follows the movement of glamour out of the studio and salon into th e
street.The photographs reveal how shifts in societal values make themselves felt in the creation of fashion and its representation. It is
also evident that by the time these images reach the public eye, the creative process has involved a complex interaction between
designers of fashion , photographers, and art directors.
In addition to celebrating the sheer beauty of pictures, the show is also intended to rai se awareness that fashion photography can
be artoLike the Italian masters who are considered great artists despite living off commi ssions from art patrons, top fashion photographers often transcend the commercial dictates of their work and impose their own points of view on what they are photographing. In
the hands of the best, fashion photography can be boldly experimental, questioning itself and the values of the industry it rep resents.
Given the range of visual imagery and photographic technology in this year's FotoFest. the unforeseen and unexpected appearance
of the 1826 Nipce photograph in Houston is remarkably fortuitous. It is the first time in thirty years that the heliograph has been
loaned for public display by the Harry Ransom Humanities Research Center at the University of Texas at Austin.Thanks to a revolutionary new lighting system designed by 3M Corporation in cooperation with the Harry Ran som Center. it is al so the first time th at
one or more people can stand in front of it and actually see it clearly. In light of the heliograph's own remarkable history and the
detective work done by Or. Helmut Gemsheim to resurrect it, its presence at FotoFest may be seen as another miracle of photography
From the first photograph to the electronit highway, the 1994 International Festival of Photography continues FotoFest's commit ment to public education, promotion of fine photographic arto and cross-cu ltural dialogue. An integral part of FotoFest's mission is to
provide a forum and showcase for artists and photographic works which have not previously received the vi sibility they meritoIdeas,
the relationship of art to ideas, and issues of social or political importance are central to FotoFest's curatorial philosophy.
The Jnternational Meeting Place and the portfolio reviews for photographers are another aspect of broadening access and audience
within the photographic field . On a first-come-first-served basis, they provide photographers with unparalleled opportunities to meet
individually with many of the finest curators, editors, critics, collectors in the world. In turn, these curators and invited guests provide
an important international audience for the exhibited work and a voice for Houston and FotoFest around the world.
As this catalogue shows, FotoFest has increased its programming between biennial festival s. Utilizing existing galleries and nontraditional public spaces, FotoFest sponsored four international and two U.S. exhibitions during 1993 and 1994.The international
shows- three Latin American and one Italian- brought to Houston photography that was unknown or rarely seen in the U.S. One of
the U.s. exhibitions, Brian Weil's work on AIOS, was shown in Houston's largest central city high school. Thanks to the vision of
teachers and administrators, the exhibit became a catalyst for a weeklong teach -in and series of student art events centered around
the issue of Al OS and its impact on young people.
10
INTRODUC T IO N
This exhibit linked FotoFest's exhibition programming to its principal educational work in Houston public schools.The Literacy
Through Photography (LTP) program is now in its seventh year: Under the direction of poet David Brown. FotoFest education
coordinator. the program has expanded into seventeen schools across the city. Based on photographer Wendy Ewald's pioneering
work with children in Appalachia. Colombia. and India. Literacy Through Photography in Houston is directed toward using photography
to promote literacy as well as analytical and learning skills. Posters. put together by students with their photographs and written essays.
are placed on public display around Houston. During the 1994 Festival. five hundred student posters are exhibited on th~ FotoFence
at the Convention Center: Curriculum guides for the American Voices and The Global Environment exhibits have been developed and
distributed to more than one hundred teachers planning to bring their students to the Festival exhibits. Bilingual docent tours will be
given to thousands of Houston-area students during the Festival.
To extend the life of its Festival programs beyond the Festival itself, FotoFest is collaborating with other arts and education organizations to disseminate the work. Under the auspices of International Curators Inc. in New York, photographic work from Latin America.
first seen in FotoFest 1992. has been recurated and assembled for a two-year traveling show. Image and Memory. Latin American
Photography 1880- 1992. A bilingual book on Latin American photography is to be published by Rice University Press in early 1995.
American Voices is being designed for travel. beginning 1995. and will also be accompanied by a book. The Earth Forum. donated by
FotoFest to HMNS. will reopen as a permanent exhibition and learning center in early 1995.
FotoFest and Houston are part of a growing international network of photographic art festivals in Latin America. Asia. Europe . and
the Middle East. These Festivals are an increasingly important doorway to the exchange of new ideas and art across the world. The
generous support of the sponsors. listed in this catalogue. has allowed FotoFest to continue this forum for international exchange and
education in the U.5.
Thi s Festival and the past two years of programs were done with an exceptionally small and hard-working staff, and it is appropriate
that we begin a long list of acknowledgements with recognition of their talents and achievements.
The FotoFest Board of Directors. and in particular our chairman. Alan Buckwalter. have been remarkably steadfast in their support
through thi s time . Individual Board members have put in long hours of work on special projects in addition to fundraising and financial
contributions. We would also like to thank Daphne Wood Gawthrop. who has helped FotoFest in myriad ways.
The many people who have donated time and in-kind services are listed in the acknowledgement section at the back of the
catalogue and are too numerous for us to be able to name themall here. We gratefully recognize their contribution and know that the
fest ival and the between-festival programming would not be possible without their generous support.
In overseeing the coordination of programs and media with Latin America as well as all Spanish translations. Marta Snchez Philippe
continues to be an invaluable part of FotoFest. Her steadfastness and professionalism are admirable .
For the third Festival in a row. the catalogue would not have been possible without the pro bono work of its editor. Liz Branch. and
her dedicated team of volunteers.The design of the catalogue. FotoFest's logo. and cultural tourism brochure are exceptional and
were donated by Ward Pennebaker and Pennebaker Design. Extraordinary attention to design and layout production was given by
Jeffrey McKay and Sandy Mooneyham. whose commitment to catalogue completion was remarkable. David Lerch's design of the
touri sm brochure was exceedingly creative.
Two long-term members of FotoFest who have contributed many hours of volunteer time and professional talent to the development of education materials and the auction are Mary Stark Love and Martha Skow. As in 1992. Howard Hilliard's coordination of
many aspects of the Festival related to the Convention Center has been essential. Innovative public service announcements for radio
and television were contributed by filmmaker David Berman and writer Diana Hickerson. Between festivals. particular thanks goes to
George Neikov for exhibition assistance .
In t erms of developing exhibitions and programs. there are individuals whose advice. knowledge. and experience have been
11
GEO R GE
R .
B R O WN
CO N VE N TIO N
C E N TER
exceptionally important. Dr. Tomas Ybarra-Frausto has been a padrino to many cross-cultural programs around the country. and he has
been a much-appreciated mentor for the American Vo ices programo Carolyn Liney Rotan has been a wise and steady voice in the
development of The Global Environment exhibit. One of FotoFest's longstanding and most respected friends. who has continued to give
us sage counsel over the years. is Louisa Sarofim. Dr. Philip Yennawine was very generous in sharing his important experience with
visual literacy teaching. Writer and University of Houston professor Rober t a Fernandez not only provi ded exceptionally good advice
on many matters but also wrote the historical essays for the American Voices curriculum.
Many people contributed to The Earth Forum project.The collaboration with the Houston Museum of N atu ral Science (H MNS) has
been rewarding.We wish to thank HMNS President Truett Latimer and Board Member Tom Stevens for their willingness to support
thi s innovative project.The project would not have been possible without the data provided by Mary Paden of the World Resources
Institute.Terry Smith of The National Geographic Society. population expert Robert Fox. and Kam Lula of NASA.
We thank Mayor Bob Lanier and Elyse Lanier for being the honorary co-chairs of the Fifth Biennial International Festival of Photography. W e recognize Eddie Webster and Ed Hall of the Greater Houston Convention and Visitors Bureau for their help in marketing.
W e also thank Jordy To 11 ett and Service America at the Convention Center for their consideration. Bob Eury of the Dow ntown
Management Corporation. Flora Maria Garcia of the Cultural Arts Council. and City Counci l Members Eleanor Tinsley. Gracie Saenz.
Martha Wong. Felix Fraga. Judson Robinson 111. and Sheila Jackson Lee have been very helpful.
The Hispanic Advisor y Committee has provided valuable assistance with community outreach and programming advice in relation
to education programs and the American Voices exhibit. We have also benefitted from the participation of many universi ty professors
and teachers. in particular Dr. Tatcho Mindiola. Dr. Alan Matusow. Marion McWhorter. Dr. Stephen Klineberg. Jim Blackburn. D r. Sylvia
Ramos. and Dr. John Burke.
FotoFest has worked with and been assisted by a number of organizations this year : Ri ce University Continuing Studies. The
Houston Zoological Society. American Society of Magazine Photographers. The Houston Arboretum and Nature Center. KUHT-TV
Channel 8. Festival Chicano. Arte Publico Press. Houston Museum of Fine Arts. The Hispanic Forum.The Houston Grand Opera.
Citizens Environmental Coalition. Rice Design Alliance. National Geographic Society. World Resources Institute. NASA. Menil Collection. Etui. Lynne Goode Gallery. American Institute of Architects. Brazos Book Store. Casa Ramirez. Chroma Copy. For programs
between fest ivals. we want to thank Delores Johnson. Fredericka Hunter. Jean Barber. Paul Hester. and Fernanda Matos. Essential
suppor t for the Literacy Through Photography Program has been given by Houston Independent School D istrict administrators D r.
Susan Sclafani. Rose Hicks. Suzanne Sutherland. and Mary Jane Connelly.
The whole festival could not have been constructed without the help ofWeingarten Realty. nor could we have put on the Festival
without the help of more than one hundred docents to whom we are greatly indebted. Ultimately t he enabling core of the Festival is
the combined effort and contribution of the artists. curators. and sponsors.
FREDE RICK B ALDWIN. P RESID ENT
W EN DY W ATRISS . A RTlSTlC D IRECTOR
FOIO FESl
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INTRODUCCIO N
"e'}
. 1" nos han preguntado. " Fotografa latina, moda y el medio ambiente global ua es 1a l'oglca.
cul es la conexin?
A lo mejor sera bueno preguntar por qu tiene que haber una conexin lgica. Crear un festival es como formular una temporada
de pera. No hay siempre una lnea directa entre una produccin y la siguiente, pero en conjunto debe representar un espacio de
visin creativa- una reflexin de la extensin y la riqueza del medio y de su relacin con la vida. Algunas producciones sern
reconfigu raciones del pasado, y otras llevarn al pblico curioso al futuro.
Como la pera, la fotografa sigue una frmula clsica y la desafa. A menudo es la yuxtaposicin de lo clsico y la vanguardia lo que
causa la sorpresa ms grande y, as mismo, la ms grande gama de experiencia artstica. El tno de exhibiciones orquestado por
FotoFest para El Quinto Festival Internacional de Fotografa, representa la sucesin de intereses e ideas relacionados con el arte, la
poltica, la historia, y en un caso, el futuro de la sociedad humana. Todas juntas, Voces Americanas: Fotografla latina en los Estados Unidos;
El Medio Ambiente Global; y Moda: Evolucin/Revolucin, ofrecen una oportunidad rara de encontrar una temporada llena de arte,
ciencia e historia a travs de las culturas.
La exhibicin Voces Americanas surgi de un viejo inters en las culturas de habla hispana y en la experiencia precolombina y colonial
en Amrica. Teniendo en cuenta que hay buenos trabajos de origen latino en los Estados Unidos que nunca han alcanzado una
visi bilidad amplia, queramos crear un foro que pudiera promover el reconocimiento de las diversas voces dentro de la fotografa latina
en este pas. Se han realizado programas as de grandes sobre la pintura, el cine y el video latinos, pero Voces Americanas es la primera
exposicin en presentar esta variedad de t rabajos en fotografa.
Voces Americanas ha sido una colaboracin rara de diferentes culturas, entre cuatro curadores y treinta y nueve artistas latinos
provenientes de las tres ms antiguas y grandes culturas de habla hispana en los Estados Unidos- mexicano-americanos,
puertorriqueos, y cubano-americanos. La exhibicin refiere cuatrocientos aos de historia cultural desde las experiencias caribeas
de la esclavitud y de la santera, hasta los pri meros aos del movimiento de los trabajadores agncolas en California y la vida de los
chicanos en las calles de Los Angeles. Aunque la mayor parte del trabajo en esta exhibicin es contemporneo, hay representadas
tres generaciones de historia de la fotografa: desde el trabajo de estudio de Bertha Rodrguez, en los barrios de San Antonio y las
fotografas documentales de la WPA en Puerto Rico de Jack D elano, hasta las imgenes generadas en computadora de Martina Lopez,
graduada reci entemente del Art Institute of Chicago, e instalaciones de medios mixtos de Arturo Cuenca, un emigrado recie nte de
Cuba y Mxico. Estructurado como un dilogo entre los curadores latinos y los artistas que alcanza muchos modos de expresin
creativa, esta exhibicin desafa las actitudes convencionales sobre la fotografa latina en los Estados Unidos.
El M edio Ambiente Global tiene la intencin de estimular el pensamiento global sobre el medio ambiente y lo que le estamos
haciendo a la tierra. La exhibicin, present ada en tres part es, tambin refleja cmo la naturaleza de las imgenes ha cambiado, y las
maneras en que las imgenes son usadas para informar.
Imgenes del mundo presenta el trabajo de vei ntit rs artistas de Amrica Latina, Japn, Europa y los Estados Unidos. El trabajo vana
desde fotografa directa hasta esceni ficada o arreglos conceptuales.
El vestbulo de globos es una instalacin tridimensional hecha por un artista alemn, Ingo Gnther, quien usa el globo terrqueo
tradicional como base para nuevas descr ipciones cartogrficas de la economa global, la geopoltica, la poblacin y la relacin de la
sociedad humana con los recursos de la tierra. Los globos, iluminados desde adentro, estn en un cuarto oscuro como suspendidos en
el espacio. Representando innumerables maneras de imaginar la tierra, stos desafan la idea de que la geografa es una ciencia o de
que hay una manera correcta de ver el mundo. Los globos de Gnther reconcilian el pasado, el presente y el futu ro. Es la primera
exhibicin de este trabajo en los Estados Unidos.
El (oro de la Tierra es una simulacin de la autopista de informacin del futuro con seis estaciones de trabajo; cada una representa un
continente diferente y uno de los recursos esenciales de la Tierra para sobrevivir. Las estaciones de trabajo dan a los visitantes acceso
instantneo a imgenes y bases de datos sobre el medio ambiente provenientes de la National Geographic Society, la NASA, el World
Re sources Institute y la investigacin de Robert Fox sobre poblacin. Esta parte de El M edio Ambiente Global ha sido desarrollada junto
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con el Houston Museum of N atural Science. D espus del Festival. FotoFest donar El foro de la Tierra al museo. como un centro
permanente de educacin acerca de la tierra.
En la exhibicin Voces Americanos. los arti stas y curadores lati nos contradicen las defin iciones tradicionales de la fotografa al
incorporar medios mixtos. imgenes generadas por computadoras. video e instalaciones tridimensionales junto con imgenes sobre
papel. El M edio Ambiente Global traza la evolucin de las imgenes desde la Ti erra hasta el espacio y las maneras en que las tecnologas
electrnicas y de satlites han transformado los modos en que las imgenes visuales transmiten informacin sobre el mundo.
La fotografa t ambin ha defin ido. desafiado y transformado la manera en que percibimos la belleza. La tercera exhibicin Modo:
Evolucin/Revolucin muestra cmo las ideas de estilo y belleza han cambiado durante las ltimas nueve dcadas. Curada por Etheleen
Staley y Taki Wi se de la Staley Wi se Gallery en Nueva York. la exhibicin sigue el movimiento del glamour fuera del estudio y del saln
a la calle. Las fotografas revelan cmo los cambios en los valores sociales se reflejan en la creacin de la moda y en su representacin.
Tambin es evidente que para cuando estas imgenes llegan al pblico. el proceso creativo ha sido una compleja interaccin entre los
diseadores de moda. los fotgrafos y los di rectores de arte.
Adem s de celebrar la belleza pura de las fotografas. la exhibicin tambin pretende elevar la conciencia de que la fotografa de
moda puede ser arte. Como los maestros italianos. quienes son considerados grandes artistas a pesar de vivir de las comisiones de los
mecenas de arte. los grandes fotgrafos de moda a menudo t ranscienden los dictados comerciales de su trabajo e imponen su propio
punto de vista en lo que estn fotografiando. En las manos de los mejores. la fotografa de moda puede llegar a ser muy experimental.
cuestionndose a s misma y a los valores de la industria que representa.
Dada la extensin de las imgenes visuales y de la tecnologa fotogrfi ca en el FotoFest de este ao. la imprevista e inesperada
aparicin de la fotografa de N ipce de 1826 en Houston es una suerte increlble. Es la primera vez en treinta aos que la heliografa
ha sido prestada por el Harry Ransom Humanities Research Center de la Universidad de Tejas en Austin. para exhibirse pblicamente.
Gracias a un nuevo y revolucionario sistema de iluminacin diseado por 3M Corporation en cooperacin con el Harry Ransom
Center. es tambin la primera vez que una o ms personas pueden pararse enfrente de esta imagen y realmente verla claramente .
Debido a la increble historia de esta heliografa y al trabajo de detective que realiz el D r. Helmut Gernshei m para resucitarla. su
presencia en FotoFest puede ser vista como otro milagro de la fotografa.
Desde la primera fotografa hasta la autopista electrnica. el Festival Internacional de Fotografa de 1994 contina el compromi so
de FotoFest con la educacin pblica. la promocin de fotografa de arte. y el dilogo a travs de las cu lturas. Una parte integral de la
misin de FotoFest es proveer un foro y una vitrina para los artistas y los trabajos fotogrficos que no han recibido antes la atencin
que merecen. Las ideas. la relacin del arte con las ideas y los temas de importancia social o poltica. son parte central de la filosofa
curatorial de FotoFest.
El Saln Internacional de Encuentros y la revisin de portafolios para los fotgrafos. son otro aspecto del amplio acceso y de la
audiencia dentro del campo fotogrfico. Organizndose como van llegando. provee a los fotgrafos una oportunidad inigualada para
encontrarse individualmente con muchos de los mejores curadores. editores. crticos y coleccionistas del mundo. A su vez. estos
curadores y otros invitados proveen una importante audiencia internacional para el trabajo en exhibicin y una voz para H ouston y
FotoFest en el mundo entero.
Como este catlogo lo demuestra. FotoFest ha incrementado sus programas entre los festivales bienales. Utilizando galeras
existentes y espacios pbl icos no tradicionales. FotoFest promovi cuatro exhibiciones internacionales y dos estadounidenses durante
1993 y 1994. Las exhibiciones internacionales- tres latinoamericanas y una italiana- t rajeron a Houston fotografa que era
desconocida o poco vista en los Estados Unidos. Una de las exhibiciones estadounidenses. el trabajo de Brian W eil sobre el SIDA. fue
mostrado en la ms grande escuela preparatoria de la ciudad de Houston. Gracias a la visin de los maestros y administradores. la
exhibicin se convirti en catalizador de una semana completa de enseanza y una serie de eventos artsticos para los estudiantes.
centrados alrededor del tema del SIDA y su impacto en la gente joven.
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IN TROD U CC I ON
Esta muestra uni los programas de exhibicin de FotoFest con su principal trabajo educativo en las escuelas pblicas de Houston.
El programa Alfabetizacin a travs de la fotografa (LTP por sus siglas en ingls) est ahora en su sptimo ao. Bajo la direccin del
poeta D avid Brown. coordinador de educacin de FotoFest. el programa se ha expandido a diecisiete escuelas en toda la ciudad.
Basado en el trabajo precursor de la fotgrafa Wendy Ewalds con nios del Appalachia. Colombia. y de la India. Alfabetizacin a t ravs
de la fotografa en Houston est dirigido a usar la fotografa para promover la alfabetizacin as como las habilidades analticas y de
aprendizaje. Los carteles. hechos por los estudiantes con sus fotografas y sus ensayos. son expuestos en lugares pblicos de H ouston .
Durante el festival de 1994. quinientos carteles de los estudiantes estarn en exhibicin en el FotoFence en el Centro de Convenciones. Las guas de estudio para las exhibiciones de Voces Americanos y de El Medio Ambiente Global han sido publicadas y distri buidas
a ms de cien maestros que planean traer a sus alumnos a las exhibiciones del festival. Durante el mismo sern dados recorrid os
guiados bilinges a miles de estudiantes del rea de Houston.
Para extender la vida de sus programas ms all del Fest ival. FotoFest est colaborando con otras organizaciones de arte y
educacin para difundir el trabajo. Bajo los auspicios de International Curators Inc. en Nueva York. el trabajo fotogrfico de Amrica
Lati na. visto anteriormente en FotoFest 1992. ha sido recuperado y reu nido para una exhibicin itinerante de dos aos. Imagen y
Memoria. Fotografia Latinoamericano 1880- 1992. Un libro bil inge sobre la fotografa latinoamericana ser publicado por Rice Univer-
sity Press a principios de 1995. Voces Americanos estar tambin viajando a partir de 1995. y ser acompaada por un libro. El foro de
la Tierra. donado por FotoFest al Houston Museum of N atural Science. abrir de nuevo como exhibicin permanente y centro de
aprendizaje a principios de 1995.
FotoFest y Houston son parte de una creciente red internacional de festivales de arte fotogrfico en Amrica Latina. A sia. Europa y
el Medio Oriente. Estos festivales son una entrada cada vez ms im portante para el intercambio de nuevas ideas y arte en el mundo.
El generoso apoyo de los pat roci nadores. enlistados en este catlogo. ha permitido a FotoFest continuar este foro para el intercambio
internacional y la educacin. en los Estados Unidos.
Este Festival y los ltimos dos aos de programas han sido llevados a cabo con un personal muy pequeo y trabajador; y es
apropiado que comencemos una larga lista de agradecimientos con el reconocimiento de sus talentos y logros.
La Junta D irectiva de FotoFest. y en particular su director Alan Buckwalter; han sido increiblemente constantes en su apoyo durante
todo este tiempo. Miembros individuales de la Junta han dado largas horas de trabajo en proyectos especiales. adems de reunir
fondos y contribuir financieramente .Tambin queremos dar gracias a Daphne Wood Gawthrop quien ha ayudado a FotoFest de
innumerables maneras.
Todas las personas que han donado tiempo y servicios estn mencionadas en la seccin de agradecimientos al final del catlogo y
son muy numerosas para que nosot ros seamos capaces de nombrarlas aqu. Reconocemos con agradecimiento su contribucin y
sabemos que el festival y los programas entre fest ivales no seran posibles sin est a generosa ayuda.
Al supervisar la coordinacin de programas y rel aciones pblicas con Am rica Latina. as como las traducciones al espaol. Marta
Snchez Philippe contina siendo una parte inestimable de FotoFest. Su constancia y profesionalismo son admirables.
Este es el tercer festival en que el catlogo no habra sido posible sin el trabajo pro bono de la editora Liz Branch. y su dedicado
equipo de voluntarios. El diseo del catlogo. el logo de FotoFest y el folleto publicitario son excepcionales y fueron donados por
W ard Pennebaker y Pennebaker D esign. Jeffrey McKay y Sandy Mooneyham han puesto una atencin extraordinaria al diseo y la
produccin. el compromiso de ambos para terminar el catlogo fue notable. El diseo del folleto turstico hecho por Davi d Lerch es
muy creativo.
Dos miembros de mucho tiempo de FotoFest. quienes han contribuido con muchas horas de tiempo voluntario y talento
profesional para el desarrollo de materiales educativos y de la subasta. son Mary Stark Love y Martha Skow. Como en 1992. la
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coordinacin por Howard Hilliard de muchos aspectos del Festival relacionados con el Centro de Convenciones ha sido esencial. El
cineasta David Berman y la escritora Diana Hickerson han contribuido con novedosos anuncios pblicos en la radio y televisin.
En trminos de planear las exhibiciones y programas, hay individuos cuyo consejo y experiencia han sido excepcionalmente
importantes. El Dr. Tomas Ybarra-Frausto ha sido un padrino de muchos programas de culturas diversas en el pas, y ha sido un
mentor del programa de Voces Americanas. Carolyn Liney Rotan ha sido una voz sabia y estable en el desarrollo de la exhibicin El
Medio Ambiente Global. Uno de los viejos y ms respetados amigos de FotoFest. quien ha continuado dndonos sabios consejos en
estos aos, es Loui sa Sarofim. El Dr. Philip Yennawine fue muy generoso al compartir su importante experiencia en la enseanza de
alfabetizacin visual. La escritora y profesora de la Universidad de Houston, Roberta Fernndez no slo dio muy buenos consejos en
diferentes temas sino tambin escribi los ensayos histricos para la gua de estudio de Voces Americanas.
Mucha gente ha contribuido con el proyecto de El foro de la Tierra. La colaboracin con el Houston Museum of N atural Science ha
sido provechosa. Queremos agradecer a su presidente Truett Latimer y a Tom Stevens, miembro de la junta directiva, por su voluntad
para apoyar el innovador proyecto. Este no hubiera si do posible sin los datos aportados por Mary Paden del World Resources
Institute,Terry Smith de la National Geographic Society, el experto en poblacin Robert Fox, y Kam Lula de la NASA.
Queremos dar gracias al Alcalde Bob Lanier y a Elyse Lanier por ser presidentes honorarios de El Quinto Festival Internacional de
Fotografa. Quisiramos reconocer a Eddie W ebster y Ed Hall del Greater Houston Convention and Vi sitors Bureau por su ayuda en
la publicidad.Tambin agradecemos a jordyTollett y Service America en el Centro de Convenciones, por su consideracin. Bob Eury
del Downtown Management Corporation, Flora Maria Garca del Cultural Arts Council: y los miembros de la asamblea de la ciudad,
Eleonor Tinsley, Gracie Saenz, Martha Wong, Feli x Fraga, judson Robinson 111 y Sheila jackson Lee han sido muy serviciales.
El Hispanic Advisory Committe ha dado una valiosa asistencia con el alcance a la comunidad, y consejos en la programacin de lo s
programas educativos y la exhibicin Voces Americanas,Tambin nos hemos beneficiado con la participacin de muchos profesores
universitarios y maestros, en particular el Dr. Tatcho Mindiola, Dr. Alan Matusow, Marion McWhorter. Dr. Stephen Klineberg, jim
Blackburn, Dra. Sylvia Ramos y Dr. john Burke.
FotoFest tambin ha trabajado con numerosas organizaci ones este ao: Rice University Continuing Studies,The Houston Zoological
Society, American Society of Magazine Photographers,The Houston Arburetum and Nature Center. Channel 8, Festival Chicano, Arte
Publico Press, Houston Museum of Fine Arts, The Hispanic Forum, The Houston Grand Opera, Citizens Environmental Coal ition, Rice
Design Alliance, National Geographic Society, World Resources Institute, NASA. Menil Collection, Etui, Lynne Goode Gallery,
American Institute of Architects, Brazos Book Store, Casa Ramirez, Chroma Copy. Para los programas entre festivales, queremos
agradecer a Delores johnson, Fredericka Hunter. lean Barber. Paul Hester y Fernanda Matos. Los administradores del Houston
Independent School District, Dr. Susan Sclafani, Rose Hicks, Suzanne Sutherland y Mary jane Connelly han dado un apoyo esencial al
programa de Alfabetizacin a travs de la fotografa.
Finalmente, el festival completo no podria haber sido construido sin la ayuda de Weingarten Realty. Tampoco podriamos haber
hecho el Festival sin la ayuda de ms de cien docentes a quien les debemos mucho.Y por ltimo, el centro de las posibilidades del
Festival es el esfuerzo combinado y la contribucin de los artistas, curadores y patrocinadores.
FREDERICK B ALDWIN, P RESIDENTE
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PH OTOGRA PHY
BY
CH I C ANAS
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CHICANOS
artists and photographers vividly recall their enchantment with old family
photograph s. especially the ones of their bisabuelos, abuelos, and tos abuelos (great grandparents, grandparents,
and aunts and uncles).These images possess a power of origins that too k on greater meaning at the time of " El
Movimiento" (the Chicano Movement, 1965-1 985). Chicana and Chicano artists wanted to know something about
their past, their identity, their story. The photos extended their memory and aided the formation of a historical and
mythological identity, linking them to their pasto
The pasto as experienced through culture, resembles geology. Beneath the surface of culture there are layers of
meaning that comprise the sediments formed in time and space . Digging deeper you find its origins, the flowing
myths t hat permeate the strata of meaning.
For the Chicano, the past comprises at least two complex sediments that form an amalgam of Mexican and
American, with an underlying indigenous layer in the Mexican.These two sediments were forced together in
1836 as a result of the campaign by Mexican President Santa Ana to suppress the Texas revo lt. ' Texas won its
independence from Mexico, declared itself a republic, and in 1845 entered the United States as the twenty-eighth
state of the Union.The independence of Texas eventually led to the Mexican-American War ( 1846-1848), which
radically affected and changed the lives and future of the Mexicans in their own homeland north of the Ro Bravo
(Rio Grande).l
In Europe during this time, Louis Daguerre was perfecting the process of heliography. The French Academy of
Sciences and the French Institute of Fine Arts officially announced in 1839 the details of the daguerreotype,
introduc ing the invention of photography. The rapid development of photography occurred at a fortuitou s time for
an expansionary United States after its war with Mexico. Photography served as an economic tool for US. expansionist policy, a pol icy based on th e ideology of Manifest D estiny] Recognizing the applications of this remarkable
device, the US. government eventually began to employ photographers, especially for land surveys from 1860- 1890,
to estimate territorial gain and determine the economic potential of its new territory.
After 1890 and the end of th e Indian Wars, tourists and photographers rushed to photograph the disappearing
"native." Pictures of indigenous peoples made by painters, photographers, writers, and tourists created a perception
of homogeneity that embedded an amalgamative image into the myth of the American West, and ultimately into it s
history. But what about the Mexican, and the Mexicans who have lived in today's United States for nearly 400 years?
What image does American society have of the Mexican in US. territory during the first one hundred years of
photography? What photographic records exist of the Mexicans in the Southwest and West from the years 1839 to
1939? When photographers set up their studios in San Francisco in 1849, did any Mexicans come to their studios? If
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so. what kind of records- visual. oral. or written- remai n today. and where can you find them?
Research on the Mexican American emerged between I 965 and 1985 as a result of the Chicano Movement.
Today. historical invest igation continues to nourish. provi ding sources for answers to the questions posed aboye.
During the same time. Chicano art (a contemporary designation that has a long cultural history) declared the
cultural existence of a people and a social movement that developed from and formed alliances with struggling farm workers in Californ ia and Texas. dispossessed New Mexico land grant owners. the urban working class from the
Southwest and the Midwest. and the national student movement. Chicana and Chicano artists and photographers. as
cultura l workers. strove to recla im and control their history and culture. but not all Mexi can Americans accepted the
t erm Chicano'
Based on historians' research. we find photographic records of Mexican families and cultural life in the United
States as early as the end of the nineteenth century. and possibly as early as 1849. According to Tom Kreneck (A rte
Chicano. A Comprehensive Annotated Bibliography o( Chicano Art. 1965- 1985. p.27). Mexican-American families took
and preserved many photographs. Nearly fourteen years ago. Kreneck urged archivist-historians to do more
research and scholarship in this area. In the past fou rteen years. the utilization of photographic records has increased
in historical studies of Mexican Americans. How ever. no art historical study or critical analysis exists on photography
by Chicanas and Chicanos. Any understanding of t he contexts in which this photographic work has developed
remai ns absent and its absence unquestioned.
N ow. as we pass into the twenty-first century. the generation of the 1910 Mexican Revolution. los viejitos y los
veteranos (the dear old ones and the veterans). is dwindling. Most of them never returned to the "cuatro milpas"
(four cornfields) oftheir nostalgia and spirit. 5 The Chicano community is losing its living link to a distant pasto yet the
photographs remain. and they impart the power of the epic.
Possi bly for nationalistic as well as cultural reasons. Mexico (and Latin America to some extent) has given critical
attention to Chicano arto In 1978. th e fi rst Colloquium on Latin Am erican Photography. he Id in Mexico City. formally
introduced photographic work by Chicanas and Chicanos. Mexico has continued its critical interest in their photography through international and national colloquia. exhibitions, catalogues. publications. and the media.
In the United Stat es. critical evaluation and study of Chicano art has developed more slowly than historical study
and discourse on Chicanos. D espite an abundance of mat erials available at local and regional level s, these resources
are underutilized by the dominant national art institutions. Since 1965 only a few landmark exhibitions and critical
documents on Chicano art have appeared, each rece iving some notable attention.
The fo llowing are good examples: M exican American Artists by Jacinto Quirarte (1973). the first and only art
historical survey of Chicano art; Los Four ( 1974), considered to be the first exhibition of Chicano art he Id in a major
art museum. Los Angeles County Museum of Art: Dale Gas ( 1977), an exhibition curated by a Chicano at the
Contemporary A rt s Museum. H ouston.Texas, and accompanied by a catalogue that provides a vital explanat ion and
recognition of Chicano Art: Arte Chicano, A Comprehensive Annotated Bibliography o( Chicano Art. 1965- I 98 I compiled
by Shifra M. Goldman and Toms Ybarra-Frausto ( 1985): Chicano Expressions (1986). the fi rst Chicano art exhibition
on the East Coast, INTAR Latin American Gallery. New York: and Chicano Art. Resistance and Affirmation, 1965- I 985
( 1990). a traveling exhibition. with catalogue, organized by Chicanas and Chicanos.Thi s exhibition. under the
auspices o fWight A rt Gallery, Un iversit y of Californi a. Los Angeles. put the face of Chicano art on the U.s. art map.
The other exhibitions and publications have importance in the Chicano community and in the Latino community, but
Chicano Art, Resistance and A(firmalion gained entrance into the national (U.S.) art record.
In t he fie ld of photography. the Aztln Cultural (Oakland, California) organized Con Cario in 1983. the first
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national exhibition on contemporary photography by Chicanas and Chicanos.This exhibition was organized through
an arrangement between Aztln Cultural and the University of Erlangen-Nurnberg, Germany. It traveled only to this
site in Germany. Not a single U.S. venue accepted the exhibition, and Aztln Cultural could not raise the funds to
produce an exhibition catalogue. Prior to and following the exhibition Con Cario, many local and regional art
institutions, community-based arts organizations, and galleries organized important photography exhibitions, some
with an accompanying catalogue; however. most of these exhibitions have not gone beyond the originating site 6
American Voices: Latino Photogrophy in me U.S. begins the process of rendering long-overdue recognition.The
exhibition examines photographic works by fifteen Chicanas and Chicanos, spanning the years 1940 to 1993.1
Recognizing that the formation of cultural strata occurs in complex ways, this exhibit only scratches the alluvial
surface, identifying and addressing some of the important questions about photography and Chicanos.This exhibition
seeks to initiate a path to represent and assert the way the Chicano community sees itself and the world.
Quoting from Buitrn's unpublished curatorial essay for the earlier photo exhibition Chicanolandia, " [We] would
like to place the work of [these] photographers within the larger framework of United States photography and
history .. . [and] hopefully bring attention to a long-neglected area in the history of photography." Of equal, if not
greater; significance, this exhibition provides an opportunity to compare the photographic works by Chicanos with
the works of Puerto Riqueos and Cuban Americans.
Perhaps by the 200th anniversary of the invention of photography we will see Chicano publications, books, and
exhibitions.We will recall the old photographs de nuestros antepasados (our ancestors)- postcards w ith a phot ograph of aman or woman standing next to a richly carved wooden table or pedestal, gazing at us, waiting t o tell us
their story. On the yellowed backside of the postcard we see only a short phrase, so flu idly and intimately w ritten in
ink, " Para un recuerdo- t primo" ("As a remembrance- your cousin"). We hope that those who follow us wi ll find
themselves enchanted with the document we leave behind, and in some small way, that thi s document will strike th e
same chord that lies beneath and within our lives.
R OBERT
C.
C URATORS
Major funding for the Amencon VOlCes exhlbition has been provlded by The Rockefeller Foundatlon. The Nathan Cummlngs Foundatlon. AT& T. The Andy W arhol Foundatlon
for me Visual Arts, and National Endowment for the Arts. Addltlonal support has come (rom the Texas Commlttee for lhe H umanllles. Metropohtan L.fe Foundatlon. and
Texas Commission on the Arts.
ENDNOTES
We do not mean to indicate that Mexicans and Anglos had not lived together in the same community prior to this date. Mexico provided a
land grant to the father of Stephen F. Aust in to attract more settlers to its northern fron tier during the years following its independence from
Spain. Some Chicanos may take exception to this date as the or igins of the Chicano. however we mention it as a pivotal point in Chicano
history.
2
The Mexican-American War oflicially ended in 1848 w ith the Treaty of Guadalupe Hidalgo. transferring the provinces of Alta California. TexasCoahuila north of the Ro Bravo. and New Mexico. which today include the states of Arizona. California. Nevada. New Mexico. Texas. Utah. and
parts of Colorado and Wyoming. The Gadsden Purchase of I 854 yielded the southern par ts of Arizona and New Mexico.
Manifest Dest iny is the belief that the divine destiny of the United States was to expand it s territory over the whole of North Amenca and to
extend its polit ical. social. and economic infiuence. The concept came into popularity in the 1830s after the implementation o f the Monroe
Doctrine. and continued until the latter part of the nineteenth cen tury.This ideology shows up as early as 1786 during dlScussions about the
new country's future.
Perhaps one of the best definitions of Chicana comes from Chicano journalist Rubn Salazar: "A Chicano is a Mexican-Ameri can with a nonAnglo image of himself." ("Who Is a Chica no? A nd Wha t Is It the Chicanos Want?" Los Angeles Tim es. par! 2. February 6. 1970. p.7) The Ideology
20
VOCES
AMER I CANAS
of identity as constructed by Chicanos allows the interchange of names and refers to heritage. which includes Mexican and indigenous hist ory
before the Texas revolt. Mexicans in Mexico do not call themselves Chicano. Mexicans do not consider Chicanos. or Mexican A mericans. as
Mexicans; however. they recognize the Mexican ancestry and heritage of Chicanos. Chicanos live in the United States.
S
The phrase "cuat ro milpas" comes from the title of a traditional ranchera (a style of song) popular during the 19 10- 1920 Mexican Revolution
and the decades following the Revolution. The majority of those w ho fled the Revolution came from the rural areas and sought refuge in the
U.s. Many dreamed of returning to their homes to fam iliar territor y. language. and customs- a rustic peacefulness devoted to their family.
love. and cultivatio n of corn- but most did not return.
Four exhibitions serve as examples for this: Retratos Nuevo Mexicanos ( 1987. catalogue. Millicent Rogers Museum.Taos. New Mexico); LA.
Iluminado ( 199 1. catalogue. O tislParsons. Los Angeles. California) ; and Chicanolandia (1 993. MARS Artspace. Phoenix. A rizona). Prior to
Con Cario. the exhibition Espejo: Renections o( the Mexican American (1978. catalogue. traveled to two other sites. The Oakland Museum)
serves as one of the most notable photography exhibitio ns on record. Although the Mexican A merican Legal D efense and Education Fund
(MALDEF) conceived and organized the projec!. only one Chicana photographer of five selected photographers part icipated in the
exhibit ion. Con Cario presented nineteen photographers.
7
The names of the fifteen photographers of American Voices: Latino Photography in !he U.S. ; Para un recuerdo: Photography by Chicanas and
Chicanos follow.
Artists: H istorical Work. 1930s- I 960s; Catalina Govea and family. three generations (O akland. CA). Bertha G,l Rodrguez (San A ntonio. TX).
Cris Snchez (unknown)
Artists: Contemporary Work. 1970s- 1990s; Laura Aguilar (Los A ngeles. CA). Max. Aguilera-Hellweg (N ew Yo rk. NY). Don Antn (Arcata.
CA). Louis Carlos Bernal (Tucson. AZ). Harry Gamboa. Jr. (Los Angeles. CA). David D iaz Guerrero (Roanoke. VA). Annie Lpez (Phoenix.
AZ) . Mart ina Lopez (Chicago. IL). Genero Malina (Sacramento. C A ). D elilah Montoya (Albuquerque. N M). Celia Muoz (Arlington. TX).
Ricardo Valverde (Los Angeles. CA)
2/
GEORGE
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CONVENT I O N
C ENTER
fortuita para los Estados Unidos vi dos de expansin despus de la guerra con Mxico. La fotografa sirvi como
una herramienta econmica para la poltica expansionista de los Estados Unidos, po ltica basada en la ideologa del
Destino Manifiesto.l Al reconocer las aplicaciones de este plan notable, el gobierno de los Estados Unidos comenz
a emplear fotgrafos de manera eventual, de I 860 a I 890, especialmente en estudios de tierras, para estimar la
ganancia territorial y determinar el potencial econmico de su nuevo territorio.
Despus de I 890 Y al final de las guerras contra los indios, los t uristas y fotgrafos corrieron a fotografiar a los
"nativos" en desaparicin. Imgenes de indgenas hechas por pintores, fotgrafos, escritores y turi stas crearon una
percepcin de homogeneidad que fijaba una imagen amalgamada dentro del mito del Oeste Americano y finalmente
dentro de su historia. Pero que pas con el mexicano, y con los mexicanos que han vivido por casi 400 aos en lo
que hoyes Estados Unidos? Qu imagen tiene la sociedad estadounidense de los mexicanos en territorio
estadounidense durante los primeros cien aos de la fotografa? Qu registros fotogrficos existen de los mexicanos
en el suroeste y oeste entre los aos 1839 a 1939? Cundo los fotgrafos pusieron sus estudios en San Francisco en
1849, hubo mexicanos que iban a sus estudios? Si as era, qu tipo de registros- visuales, orales o escritospermanecen hoy y dnde se pueden encontrar?
La investigacin sobre la comunidad mexicano-america na come nz entre los aos 1965 y 1985 como resultado
del m ovimiento chicano. Hoy, la investigacin histrica contina floreciendo, proveyendo fundamentos para
responder a las preguntas anteriores. Durante ese periodo, el arte chicano (una designacin que tiene una historia
cu ltural muy larga) declar la existencia cultural de un pu eblo y de un movimiento social que se desarroll y form
alianzas co n los trabajadores agrico las que luchaban en California y Tejas, con terratenientes desposedos de sus
propiedades en Nuevo Mxico, co n la clase trabajadora urbana del Suroeste y O est e y con el movimiento nacional
estudiantil. Los artistas y fotgrafos chicanos y chicanas como trabajadores culturales lucharon por reclamar y
co ntrolar su historia y cultura, pero no todos los mexicano-americanos aceptaron el trmino chicano.4
Basndonos en la investigacin de los historiadores. encontramos registros fotogrficos de familias mexicanas y de
la vida cultural en los Est ados Unidos de finales del siglo X IX y probablemente desde 1849. Segn Tom Kreneck (Arte
Chicana, A Camprehensive Annatated Bib/iagraphy a( Chicana Art. /965- /985. p.27), las familias mexicano-americanas
tomaron y guardaron muchas fotografas. Hace casi catorce aos Kreneck inst a los historiadores archivistas a
investigar ms en esta rea. En los ltimos catorce aos. la utilizacin de los registros fotogrficos se ha incrementado
en los estudios sobre los mexicano-americanos. Sin embargo. no existe ningn estudio de historia del arte o anlisis
critico sobre la fotografa de las chicanas y chicanos. Cualquier discernimiento de los contextos en los cuales este
trabajo fotogrfico se desarroll sigue ausente y su ausencia no es cuestio nada.
Ahora, al entrar al siglo XXI. la generacin de la Revo lucin Mexicana de 19 I O, los viejitos y los veteranos. est
disminuyendo. Muchos de ellos nunca regresaro n a las "cuatro milpas" de su nostalgia y espritu.5 La comunidad
chicana est perdiendo su eslabn vivo con un pasado distante, pero las fotografas se quedan y otorgan el poder de
lo pico.
Posiblemente por razones nacionalistas y culturales, M xico (y hasta cierto punto Amrica Latina) ha dado una
atencin critica al arte chicano. En 1978, el Primer Coloquio de Fotografa Latinoamericana. que se llev a cabo en
la Ciudad de Mxico, introdujo formalmente el trabajo fotogrfico de ch icanos y ch icanas. Mxico ha continuado su
inters critico en esta fotografa a travs de coloquios internacionales y nacionales, exhibiciones, catlogos,
publicaciones y pre nsa.
22
VOCES
A M E RI C A NA S
En los Estados Unidos, la evaluacin crtica y estudio del arte chicano se ha desarrollado ms despacio que el
estudio histrico y la discusin sobre los chicanos. A pesar de la abundancia de material disponible a niveles locales
y regionales, estos recursos no son utilizados por las principales instituciones nacionales de arte. Desde 1965 slo
unas pocas exhibiciones importantes y documentos crticos sobre el arte chicano han aparecido, todos ellos
habiendo recibido bastante atencin.
Las exhibiciones siguientes son buenos ejemplos: Mexican American Artists por Jacinto Quirarte (1973), el
primero y nico estudio de historia del arte chicano; Los Four (1974), considerada la primera exhibicin de arte
chicano que se llev a cabo en un museo importante, Los Angeles County Museum of Art; Dale Gas (1 977), \,lna
exhibicin organizada por un chicano en el Contemporary Arts Museum en Houston,Tejas y acompaada por un
catlogo que provee una explicacin vital y de reconocimiento al arte chica no; Arte Chicano, A Comprehensive
Annoted Bibliography o( Chicano Art, 1965- /981 recopilado por Shifra M. Goldman y Toms Ybarra-Frausto (1985);
Chicano Expressions (1986), la primera exhibicin de arte chicano en la costa este, INTAR Latin American Gallery,
Nueva York; y Chicano Art, Resistance and Affirmation, 1965- /985 (1990), una exhibicin itinerante con catlogo,
organizada por chicanas y chicanos. Esta exhibicin, que se realiz bajo los auspicios de Wight Art Gallery de la
Universidad de California en Los Angeles, puso el rostro del arte chicano en el mapa del arte de los Estados
Unidos. Las otras exhibiciones y publicaciones tienen importancia en la comunidad chicana y en la comunidad
latina, pero Chicano Art, Resistance and Affirmation gan acceso a los registros nacionales de arte.
En el rea de la fotografa, en 1983, Aztln Cultural (Oakland, California) organiz Con Cario, la primera
exhibicin nacional de fotografa contempornea de chicanas y chicanos. Esta exhibicin fue organizada a travs
de un arreglo entre Aztln Cultural y la Universidad de Erlangen-Nurnberg en A lemania. La exhibicin viaj
slo a este sitio en Alemania. Ningn lugar en los Estados Unidos la acept, y Aztln Cultural no consigui los
fondos para publicar un catlogo de exhibicin. Antes y despus de la exhibicin Con Cario, muchas instituciones
de arte locales y regionales, organizaciones artsticas comunitarias y galeras organizaron importantes exhibiciones
fotogrficas, algunas con un catlogo; sin embargo la mayora de estas exhibiciones no han ido ms all del
sitio originari0 6
Voces Americanas: Fotogra(ia Latina en los Estados Unidos contina el proceso de lucha por un reconocimiento
retrasado durante mucho tiempo. Esta exhibicin examina los trabajos fotogrficos realizados por quince chicanas y
chicanos, entre 1940 y 1993.7 Al reconocer que la formacin de los estratos culturales ocurre de maneras
complejas, esta exhibicin solo rasgua la superficie aluvial, identificando y enfocando algunas de las cuestiones
importantes sobre fotografa y chicanos. Esta exhibicin busca iniciar un camino para, representar y afirmar la
manera en que la comunidad chicana se ve a s misma en un contexto internacional.
Parafraseando un ensayo curatorial no publicado de Buitrn sobre una exhibicin fotogrfica anterior.
Chicanolandia, "quisiramos poner el trabajo de estos fotgrafos dentro del marco ms grande de la fotografa e
historia estadounidense . . . esperando atraer la atencin sobre un rea largamente olvidada en la historia de la
fotografa." De igualo ms significado, esta exhibicin provee una oportunidad de comparar el trabajo fotogrfico
de chicanos con el trabajo de puertorriqueos y cubano-americanos.
A lo mejor. para el aniversario de los doscientos aos de la invencin de la fotografa, veremos publicaciones,
libros y exhibiciones chicanas. Recordaremos las viejas fotografas de nuestros antepasados-ta~etas postales con la
fotografa de un hombre o una mujer parados cerca de una mesa o de un pedestal de madera ricamente tallada,
23
GEORGE
R .
BROWN
CO N VE N TION
C E NT E R
mirndonos, esperando contarnos su historia. En la amarillenta parte de atrs de la tarjeta slo veremos una frase
corta, fiuida y escrita, ntimamente, con tinta, "Para un recuerdo- tu primo ." Esperemos que los que nos sigan se
fascinen con el documento que dejemos, y que, de una pequea manera, este documento toque la misma cuerda
que yace debajo y dentro de nuestras vidas.
R OBERT
C.
C URADORES
Los principales patrocinadores de la exhibicin Voces Ameflconos son:The Rockefel1er Foundation.The Andy W arhol Foundation for the Visual Arts. The Natham Cummlngs
Foundation y N ational Endowment for the Arts. C uenta con el apoyo adicional procedente de Metropolitan Life Foundallon y Texas C ommlttee for the Humanltlcs.
NOTAS
N o queremos decir que los mexicanos y los anglosajones no vivan juntos en la misma comunidad antes de esta fecha. Mxico le dio tierras al
padre de Stephen F. Austin para atraer ms colonos a la frontera norte del pas en lo s aos posteriores a la independencia. Algunos chicanos
se oponen a esta fecha como el origen de los chicanos, sin embargo la mencionamos como un momento crucial en la historia chicana.
la guerra entre Mxico y los Estados Unidos tenmin ofi cialmente en 1848 con el Tratado de Guadalupe H idalgo. transfiriendo Mxico a los
Estados Unidos las provincias de A lta California. Texas-Coahuila al nort e del ro Bravo y N uevo Mxico. que hoy en da incluye los estados de
Arizona. N evada. Nuevo Mxico. Utah. California. Colorado y partes de Wyoming. La compra de Gadsden en 1854 concedi las partes sur
de Arizona y de Nuevo Mxico.
3
El D estino Manifiesto es la creencia de que el destino divino de los Estados Unidos es expandir su territori o sobre toda A mrica del Norte y
extender y aumentar su influencia polt ica. social y econmica. El concepto cobr popularidad en 1830. despus de la implantacin de la
Doctrina Mo nroe. y continu hasta el final del siglo X IX. Esta ideologa comenz desde 1786 en las discusiones sobre el futuro del nuevo pas.
Tal vez una de las mejores definiciones de quien es chicana proviene del periodista chicana Rubn Salazar: "Un chicana es un mexicanoamericano con una imagen no anglosajona de s mismo." ("Who is chicana? And What is it the Chicanos want?" Los Angeles Times. parte 2. 6
de febrero de 1970. p.7) La ideologa de identidad construida por los chicanos penmite el intercambio de nombres. y alude a la herencia. que
incluye la historia mexicana e indgena antes de la revuelta de Tejas. Los mexicanos en Mxico no se llaman a s mismo chicanos. Los
mexicanos no consideran a los chicanos. o a los mexicano-americanos. como mexicanos, sin embargo reconocen la raza y herencia mexi cana
La frase "cuatro mi lpas" proviene del t tulo de una cancin ranchera que fue popular durante la Revolucin Mexicana de 1910- 1920 y las
dcadas posteriores. la mayora de los que escaparon como consecuencia de la Revolucin vino de las reas r urales y busc refugio en los
Estados U nidos. Muchos soaban en regresar a sus hogares. como dice la cancin. pero la mayora no regres.
Cuatro exhibiciones sirven de ejemplo: Retraws Nuevos M exicanos ( 1987. catlogo. viaj a otros dos sitios. Millicent Rogers Museum. Taos.
Nuevo Mxico); L.A. Iluminado (1991 . catlogo. OtislParsons. Los Angeles. California); Chicanolandio ( 1993. MA RS Artspace. Phoenix. Arizona).
Antes de Con Cario. la exhibicin Espejo: Ref1ections o( me Mexican American fue una de las ms notables exhibiciones fotogrfi cas registradas.
Aunque el Fondo Mexicano-Americano para la Defensa Legal y Educacin (MALDEF por sus siglas en ingls) concibi y organiz el proyecto.
slo un fot grafo chicana. de los cinco fotgrafos seleccionados. particip en la exhibicin. Con Cario present diecinueve fotgrafos.
Los nombres de los quince fotgrafos de Voces Americanas: Fotografa Latina en los Estados Unidos: Para un recuerdo: Fotografa de chicanas
y chica nos. son los siguientes: Artistas. Trabajo histrico. 19305- 19605: Catalina Govea y familia. tres generaciones (Oakland. CA). Bertha Gil
Rodrguez (San Antonio. TX). Chris Snchez (Sacramento. CA); Artistas. Trabajo con temporneo. 19705- 19905: Laura Aguilar (Los Angeles.
CA). Max Aguilera-Hellweg (New York, NY). Don Antn (Arcata. CA). Louis Carl os Bernal (Tucson. AZ). Harry Gamboa.
CA). David D az Guerrero (Roanoke. VA). Annie Lpez (Phoenix. AZ). Martina Lopez (Chicago. IL). Genaro Ma lina (Sacramento. CA).
Delilah Montoya (Albuquerque. NM). Celia Muoz (Arlington. TX). Ricardo Valverde (Los Angeles. CA).
24
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if you had asked someone in the art gallery. museum. or art publication arena in New
York City to na me a contemporary Latino photographer: most likely the response would have been Mexican
photographer Manuel Alvarez Bravo. Much has happened since then.
Puerto Rican photographers. both on the island and offshore. have been active for more than one hundred
thirty-five years. mastering the technology. establishing portrait and commercial studios. and documenting and
reporting on its diaspora.
The work of Puerto Rican photographers within American VOlces spans fifty years. ranging from the immensely
poignant. affectionate. and singularly respectful Farm Securit y Administration photographic documentation by Jack
Dlano taken in 1941 . to the present-day photo-based. bubble jet laser print collages by NewYork City artist Juan
Snchez. Each photographer in this group of Puerto Rican artists has been producing fine photography over a
period of many years.Their works share a sense of spiritual and cultural values.
In recent times Puerto Ri cans have grown up bilingually and biculturally; more than one-third of the 3.6 million
Island population have lived in the New York City area. and inexpensive fares allow for constant and frequent air
travel. Thus. there is a need to address the subject of dual identity- photographers based in New York City whose
values and references emana te from the island. and the island-based photographers. many of them educated on the
malnland. whose interests and asplrations are not solely regional.They are aware of photography's latest technologl cal advances as well as its Involvement in the fine arts.This duality invests the work with a characteristic cultural
Identity. Though not meant as a survey of the field. the selected works represent the forefront of contemporary
Puerto Rican photography.
The history of Puerto Rico provides the needed context for underst anding the evolution of Puerto Ri can
photography.
The indigenous people of the island (then called Borinquen) were Taino Indians at the time of Columbus's arrival
In 1493. After depleting the native population through slave labor and European diseases. the Spanish. who
governed Puerto RICO from the early 16th century. imported African slaves. Under Spanish rule. a distinctive
Puerto Rican culture evolved. which led to the establishment of the first Puerto Rican Congress. The military forces
of the United States invaded the island and gained possession of it in the Spanish American War in 1898. interruptIng a 1avvfu 1and orderly independence movement. Conditional United Sta tes citizenship was ordered in 1917. and
the Commonwealth of Puerto Rico was established in 1952. allowing for so me degree of local r ule.
In 1839. five years after th e invention o f photography. professional photographers were island hopping through
the Caribbean. By 1856. a leading newspaper in Ponce. Puerto Rico had employed six photographers to illustrate
4/
GEO R GE
R .
BR O W N
CO N VE N TI O N
C ENTER
the news in this bustling seaport. Photography studios proliferated in the major cities of San Juan, Ponce , and
Mayaquez, documenting the architecture and cultural development of the periodoSoon, itinerant photographers
made their way into the smaller mountai n villages with portable darkrooms, creating portraits of the leading
townspeople, plantation owners, and the countrysi de. Unfortunately. much of this early work was lost beca use of
the tropical climate. However. there is growing evidence that historically important collections from newspapers
and government archives in Spain still exi sto
The exhibition begins with the work Jack Dlano produced before the Commonwealth periodoAlthough Dlano
was not born in Puerto Rico, he w as sent there in 1941 by the Farm Security Administrat ion to document the
FSA's program of aid to poor farmers. He returned w ith his wife, Ire ne, in 1941, having received a Guggenheim
Fellowship to produce a book of photographs on Puer to Rico. They quickly immersed themselves in the culture,
helping to launch a golden age of visual arts. As an internationally renowned musical composer as well as a gifted
filmmaker. Dlano and his wife Irene were instrumental in developing t he graphic arts of Puerto Rico through
collaborative workshops, films, children's books, and silk-screened posters. His work illuminates the cultural strength
of the Puerto Rican people, who have survived vari ous governments and post-modern change .
Equally compelling are the photographs of Frank Gimpaya and N estor Millan. Both artists pursue their independent visions with less direct cultural iconic concerns. Gimpaya sees moments when form al elements seem to
converge into ubiquitous relationships; his Fire Eater, Oaxaca, M exico, startling with its night illumination in front of a
great cathedral, questions the true source of enlightenment. N estor Millan photographs himself and others as
participants in a near-ritualistic sex ballet, reminiscent of the drawings on Greek vases, and includes a vei led,
possibly tortured fa ce as a sign of penance.This biographical dari ng puts t he artist in a self-confrontational posture
that is all the more courageous because of its public stance. Both Gimpaya and Millan use small-format cameras
that allow them to observe spontaneously without pre-visualizing reality.
Frank X. Mendez, H ctor Mndez-Caratini, and Pablo Camb explore realities through vi sual language that
speaks of specific places and objects. Frank Mendez has done an exhaustive survey of every cemeter y in Puerto
Rico, finding messages to the dead and a communit y of devotional figures of sorrow. This examination of graveyards,
if seen as a search for ancestral ties, suggests a yearning for traveled path s that give form to his own journey.
Mndez Caratini documents island festivals, religiou s observances, and historical sites and architecture. More
recently. he has been producing expressionistic videos of religious cults found in the Caribbean basin. H is color
portfolio of festival participants and costumed and masked vijiga ntes ( devil figures) expands documentation into the
realm of art. Using black-and-white photographs delicately tinted with inks, Pablo Camb created the series
Comestibles (Edibles), which centers around tropical fruits, fishes, and forms found in the kitchen. These close-up
indulgences reference the taste, texture, and pleasure that are the natural gifts of the island.
Sandra Reus and Sophie Rivera point their cameras directly at people and social ritual. Reu s, who is a working
photojournalist, eclipses the usual male-dominated beauty contest imagery to show the emptiness behind the
marketing of female flesh. Her photographs probe backstage, where, with great sensitivity, she observes the tension
and anticipation that is so much a part of this time-honored spectacle.The title of her portfolio, Belleza en Carnada,
is actually a play on the language, which translates literally as The Beauty or Flesh. Sophie Rivera's Latino portraits are
confrontational in style.The direct gaze of her sitters disallows a cursory glance; their square shoulders impose
themselves, demanding recognition for their humanity. Active in women's issues for many years, Rivera creates
portraits of affirmation , projecting strength and endurance .
42
A M ERICA N
VOl CES
In contrast, Rafael Ramrez's color portfolio of scenes from his neighbort100d in Puerto Nuevo, Puerto Rico, is
pure visual revelation. He photographs the invisible, spaces so ordinary that they are never really seen; transcending
what the eye perceives, they form a meditative space for the mind. Born and raised in the Bronx, Ramirez's earlier
street photography is a visual cacophony that refiects the turmoil and hysteria of the city. The Puerto Nuevo work
is a subdued coherence of form and color that is reminiscent of a Gregorian chant.
The photo-based installation by Vctor Vzquez for this exhibit comments on the devastating disease AIOS and
its effect on beloved friends. Inspired by the need to give form to his sorrow, the tri-pole structure covers a fioor
as if guarding cherished memories, strewn with small photographs depicting infected and deceased friends.
Attaching the photos to chunks of coal.Vzquez constructs a memorial to departed memories and a reflection
of the eternal path.
Adl 's surreal grouping, Evidence ofThings Not Seen, remains a triumphant. bombastic presentation of inconceivable realities that confronts our sense of predictability.The expertly manipulated images taunt our rigid expectations
and throw cold water on our sleeping sensitivities. Adl uses humor in his recent slide projections to pry open the
painful issues of identity, racism, and discrimination and employs self-portrait and text to challenge photography's
role as the great conveyer of the stereotype.
Juan Snchez explores the continuum of the culture from its pre-Columbian beginnings to its contemporary
nationalistic spirit. His quest, both sociopolitical and spiritual, touches on Puerto Rican patriots, cultural inheritance,
family, and the lush natural colors of Puerto Rico. Here the question of duality is clearly present; there is anguish
and struggle to locate a place of wholeness, where the bitterness of the invasion and the intolerance of nearly
one hundred years cry out for justice.The work embraces his origins as he struggles to maintain authenticity
and honesty.
Since the invasion of Puerto Rico by the U.s. Marines in 1898, most of the images about Puerto Ricans that
have been published and exhibited outside of the island were taken by non-Puerto Ricans. The pictures were
selected, edited, and written about by people not of the culture, resulting in inaccuracies and misconceptions
that are not beneficial to Puerto Ricans.This presentation of photography, addressing issues beyond aesthetics
and information, places before your eyes a selection of works that hold integrity of purpose and honesty of intent
as basic tenets of art.
CH ARLES B IASI NY- R IVERA
C URATOR
43
GEO R GE
R.
BR OW N
CONVENT I O N
CE NTER
El trabajo de los fotgrafos puertorriqueos en la exhibicin Voces Americanas se expande durante cincuenta
aos. comenzando con los inmensamente conmovedores. afectuosos y particularmente respetuosos documentos
fotogrficos de la Farm Security Administration tomados por Jack Dlano en 1951 . hasta las fotos de hoy. los
collages impresos en lser por el artista neoyorquino Juan Snchez. Cada fotgrafo de este grupo de artistas
puertorriqueos ha estado produciendo fotografa de arte durante muchos aos. Sus trabajos comparten un
sentimiento de valores espirituales y culturales.
En los ltimos aos los puertorriqueos se han vuelto bilinges y biculturales; ms de un tercio de los 3.6
millones habitantes de la isla ha vivido en el rea de Nueva York. y las bajas tarifas permiten constantes y frecuentes
viajes en avin. As que necesitamos enfocarnos en el tema de la identidad dual- fotgrafos que viven en la ciudad
de Nueva York. cuyos valores y referencias emanan de la isla y fotgrafos que viven en la isla. muchos educados en
el continente. cuyos intereses y aspiraciones no son regionales. Ellos saben de los ltimos avances tecnolgicos en
la fotografa as como de su relacin con las bellas artes. Esta dualidad confiere al trabajo una identidad cultural
caracterstica. Aunque no intento hacer un estudio completo. los trabajos seleccionados representan la vanguardia
de la fotografa contempornea puertorriquea.
La historia de Puerto Rico provee el contexto necesario para entender la evolucin de la fotografa
puertorriquea.
Los pueblos indgenas de la isla (entonces llamada Borinquen) en la poca de la llegada de Coln en 1493. eran
indios Tanos. Despus de acabar con la poblacin nativa debido a la esclavitud y a las enfermedades europeas. el
gobierno espaol. que gobern Puerto Rico desde los comienzos del siglo XVI. import esclavos africanos. Bajo el
gobierno espaol. una cultura distintiva de Puerto Rico se desarroll y llev al establecimiento del primer congreso
puertorriqueo. Las fuerzas militares de la Estados Unidos invadieron la isla y ganaron posesin de sta durante la
guerra espaola americana de 1898. interrumpiendo as un movimiento de independencia legal y ordenado. La
ciudadana condicional estadounidense fue ordenada en 1917. y el Estado Libre Asociado de Puerto Rico fue
establecido en 1952. permitiendo cierto grado de gobierno local.
En 1839. cinco aos despus de la invencin de la fotografa. fotgrafos profesionales fueron de isla en isla en el
Caribe. En 1856. un peridico famoso en Ponce. Puerto Rico. empleaba seis fotgrafos para ilustrar las noticias de
este bullicioso puerto. Los estudios fotogrficos proliferaban en las grandes ciudades de San Juan. Ponce y
Mayaquez. documentando la arquitectura y el desarrollo cultural del perodo. Pronto. los fotgrafos itinerantes se
abrieron camino hasta los pequeos pueblos de las montaas con sus cuartos oscuros porttiles. creando retratos
de los principales del pueblo. los dueos de plantaciones y del campo. Desafortunadamente. mucho de este primer
trabajo se perdi debido al clima tropical. Sin embargo cada da hay ms evidencia de que importantes colecciones
histricas de peridicos o archivos gubernamentales todava existen en Espaa.
La exhibicin comienza con el trabajo de Jack D lano producido antes del perodo de Estado Libre Asoci ado.
44
VOC E S
A M E RI CA N AS
Aunque Dlano no naci en Puerto Rico, en 1941 fue enviado ah por la Farm Security Administration (FSA) para
documentar el programa de la FSA de ayuda a agricultores pobres. Regres con su esposa Irene en 1941, habiendo
recibido una beca Guggenheim para producir un libro de fotografas de Puerto Rico. Rpidamente ellos se
sumergieron en la cultura, ayudando a iniciar una poca dorada de artes visuales. Siendo Dlano un compositor
musical reconocido internacionalmente as como un talentoso cineasta, l y su esposa fueron indispensables en el
desarrollo de las artes grficas en Puerto Rico a travs de colaboraciones en talleres, pelculas, libros para nios y
tirajes serigrficos. Su trabajo ilumina la fuerza cultural de la gente de Puerto Rico, que ha sobrevivido varios
gobiernos y cambios posmodernos.
Las fotografas de Frank Gimpaya y de Nestor Millan son tambin apremiantes. Ambos artistas crean visiones
independientes con intereses icnicos menos directos. Gimpaya observa momentos donde los elementos formales
parecen converger en relaciones ubicuas: su imagen Tragador de fuego, Oaxaco, Mxico, sorprende con su
iluminacin de noche frente a una gran catedral, y cuestiona la verdadera fuente de iluminacin. Nestor Millan se
fotografa a s mismo y a otros como participantes de un ballet sexual casi ritual, evocativo de los dibujos en los
vasos griegos, e incluye un rostro cubierto con un velo, posiblemente un torturado como un signo de penitencia.
Esta osada biogrfica pone al artista en una postura de confrontacin propia que es todava ms valiente debido a
su posicin pblica.Tanto Gimpaya como Millan usan cmaras de pequeo formato que les per miten observar
espontneamente sin previsualisar la realidad.
Frank X. Mendez, Hctor Mndez Caratini y Pablo Camb exploran las realidades a travs del lenguaje visual
que habla de lugares y objetos especficos. Frank Mndez ha hecho un extenso estudio de cada cementerio en
Puerto Rico, encontrando mensajes para los muertos y una comunidad de figuras piadosas de dolor. Este examen
de las tumbas, visto como una bsqueda de los lazos ancestrales, sugiere un ansia por los caminos viajados que da
forma a su propio viaje. Mndez Caratini documenta los festivales de la isla, los ritos religiosos y los sitios histricos
y la arquitectura. Ms recientemente, ha producido videos expresionistas de cultos religiosos encontrados en la
regin del Caribe . Su portafol io a color de los participantes de festivales y de los vijigantes (figuras diablicas)
disfrazados y con mscaras, expande la documentacin al realmo del arte. Usando fotografas en blanco y negro
delicadamente pintadas con t intas, Pablo Camb cre la serie Comestibles que se centra alrededor de frutas
tropicales, pescados y formas encontradas en la cocina. Estas indulgencias vistas de cerca refieren el sabor, la
textura y el placer que son los regalos naturales de la isla.
Sandra Reus y Sophie Rivera apuntan sus cmaras directamente a la gente y a los rituales sociales. Reus,
quien trabaja como fotoperiodista, opaca las imgenes de los concursos de belleza, usualmente dominados por
hombres, para mostrar el vaco detrs de la comercializacin de la carne femenina. Sus fotografas escudrian los
camerinos donde, con gran sensibilidad, observa la tensin y la anticipacin que es parte importante de este
espectculo. El ttulo de su portafolio Belleza en cornada es un juego de palabras. Los retratos de Sophie Rivera
son confrontacionales en estilo. La mirada fija de sus sujetos desaprueba un vistazo rpido: los hombros cuadrados
se imponen, pidiendo reconocimiento por su humanidad. Durante muchos aos Rivera trabaj activamente en
asuntos feministas. Rivera crea retratos de afirmacin, proyectando fuerza y resistencia.
En contraste, el portafolio a color de Rafael Ramrez de escenas de su barrio en Puerto Nuevo, Puerto Rico, es
solamente una revelacin visual. El fotografa lo invisible, lugares tan ordinarios que en realidad nunca son vistos:
transcendiendo lo que el ojo percibe, estos forman un espacio de meditacin. Nacido y crecido en el Bronx, su
fotografa callejera anterior es una cacofona visual que refleja el tumulto e histeria de la ciudad. El trabajo de
45
GEORGE
R.
BROWN
CO N VENT I O N
CE NT ER
Puerto Nuevo es una coherencia mitigada de forma y color que recuerda un canto Gregoriano.
La instalacin fotogrfica de Vctor Vzquez en esta exhibicin, habla sobre la devastadora enfermedad del SIDA
y sus efectos en amigos queridos. Inspirado por la necesidad de dar forma a su pesar, la estructura tripolar cubre un
piso como si cuidara recuerdos queridos, salpicada con pequeas fotografas de amigos enfermos o muertos. Al
pegar las fotos en pedazos de carbn, el trabajo se convierte en un monumento a los recuerdos idos y una
reflexin sobre el camino eterno.
El grupo surrealista Evidencio de cosos no vistos de Adl, es una representacin triunfante y rimbombante de
realidades inconcebibles que confrontan nuestro sentido de lo pronosticable. Las imgenes expertamente
manipuladas ridiculizan nuestras rgidas expectativas y arrojan agua fra en nuestros sentidos dormidos. En su
reciente proyeccin de diapositivas, Adl usa el humor para forzar los dolorosos temas de identidad, racismo y
discriminacin, y emplea autorretratos y texto para desafar el rol de la fotografa como el gran portador del
estereotipo.
Juan Snchez explora la continuidad de la cultura desde sus principios precolombinos hasta el espritu
nacionalistico contemporneo. Su bsqueda, tanto sociopoltica como espiritual, se refiere a los hroes
puertorriqueos, la herencia cultural, la familia, y los exuberantes colores naturales de Puerto Rico. Aqu la
cuestin de la dualidad est claramente presente; hay angustia y lucha para llegar a la plenitud , y a donde la
amargura de la invasin y de la intolerancia de casi cien aos clama justicia y solucin. El trabajo comprende
sus orgenes, mientras que l lucha por mantener su autenticidad y honestidad.
Desde la invasin de Puerto Rico por la marina estadounidense en 1898, muchas de las imgenes que han sido
publicadas y exhibidas fuera de la isla sobre los puertorriqueos fueron hechas por extranjeros. Estas fueron
seleccionadas, editadas y descritas por gente fuera de la cultura, y resultaron en inexactitudes y equivocaciones que
no son benficas para los puertorriqueos. Esta presentacin de fotografa, enfoca temas ms all de la esttica y
de la informacin, pone frente a los ojos una seleccin de obras que tienen integridad en sus propsitos y
honestidad en la intencin como principios bsicos del arte.
CH ARLES BI ASINY- RI VERA
C URADOR
46
JACK DELANO
Sugar C(/ Ilr
rultas
194 1
47
FRANK X . MENDEZ
Salinlls C~mna ry
March 2. 1975
48
FRANK GIMPAYA
BOJ jllll/pi l/g 0i/Pirr
I t)7 1
49
SOPHIE
RIVERA
Untided
from
50
R EVELATIONS,
a La tin o Porrfolio
JU AN
SA N C H EZ
/:/{;r;IO, /992
5/
SANDRA REUS
Miss Puu ' o Rico 1988
PAGEANT
(11)
52
Masqlland,
1994
53
PABLO CAMBO
&ta d_/ Muo 11
Portfo/io: LOS
COM ESTIBLES
54
RAFAEL
RAMIREZ
P,urlO Nu(vo, P.R.
Diciembre 1990
55
NESTOR MILLAN
U nt itled
from
1987
56
ADL
Allto Portrait, 1974
from
TH E EVIDENCE
Series - 1975
57
VICTOR VAZQUEZ
Bodtgon d, Y,may
(Srill Lifo of Y,may)
July. 1994
58
GEORGE
R .
BR OW N
CO N VENTIO N
CE NT ER
American
.
- -- -VOlees:
CUBAN AMERICAN
Photography
In
the
U.S.
selection indicates the liveliness and diversity of current aspects of art photography by twelve established Cuban
American artist/photographers. AII of the artists were born in Cuba; the majority were raised and artistically
formed in the United States. They also represent different periods of migration and settlement as well as memories
and polit ical views ofthe exodus that was brought on by the Cuban Revolution of I 959.This exodus continues
uninterrupted to the present day. Three of the artists. whose individual separation from the regime and selfimposed exile happened in the late 19805 and early 19905, were highly regarded artists of the Cuban movement
known as the Golden Age Avant Garde or Art Renaissance of the Eighties.
As a result of the relatively recent history of Cuban-American settlements in the Un ited States and political
barriers between the two countries, this part of American Voices focuses exclusively on contemporary imagery and
ideas, encompassing a diversity of styles and marked indivi dualistic expressions.The works range from conceptual.
photo-based, in situ mixed-media installations to camera obscura imagery, from history and "theatre of memory" to
street photography.
Mara Magdalena Campos-Pons's multimedia in situ installations and video performances touch upon a myriad of
interconnecting themes dealing with the recovery of memories, origins, cultural heritage, syncretism, history, and
self. " 1have not yet decided that I am a photographer: I use photography when I consider it to be the best way to
express my idea."
Silvia Lizama embraces the "theatre of memory" by means of ideas and visual metaphors.The hand-colored
M iami 1-95 series, epic in quality, is poetry at its best.The manipulation ofthe medium goes beyond reality.The
color is symbolic; it registers the artist's memory and consciousness. " 1 feel it is impossible to separate the cultural
heritage from the individual. I do not think th at who I am and w hat I do are separate things."
Arturo Cuenca's work is easily descr ibed as painting installations because of the placement of a three-dimen sional object in front of the pai nted canvas. He is interested in the mutability of cognition and perception. " My
relationship with photography is very essential. because for me photography is the medium that emits concept and
awareness. Photography is the essence of my work."
Luis Medina was a photographer of stature whose architectura l and urban photography of Chicago brought him
w ide attention and critical acclaim in the United States and abroad. David Travis, curator of Photography for the
Chicago Art Institute and trustee of the estate of Luis Medina at the Institute, writes, " Medina's images of graffiti,
gangs, gays, or the participants of the ceremony of Santera depict powerful and real occurrences beyond his
control or invention."
59
GEORGE
BROWN
CO N VENT I ON
C ENTER
Ricardo Zulueta does not consider himself a photographer in the traditional sense of the word: he actually uses
photography and performance in a sculptural contextoHe functions more like a director. a conductor. a philosopher
of sorts. or simply a powerfuI artist of ideas. " 1consider my work mostly conceptual with an emphasis on photography as a medium. but I use other mediums as well."
Tony Mendoza gives us thirteen black-and-white images, seven narrative panels, and two color videos that te ll an
amazing, self-revealing story. "1 comment on my life, and I'm very open about it. partly because I'm a child of the
sixties ... I've done some interesting things, which I consider worth talking about. But also, I've found my pratfalls,
my failings, and my misfortunes just as curious and oddly amusing."
Ana Mendieta is widely known as t he consummate practitioner of the interconnecting categories of earth arto
body art, performance arto and conceptual photography. Because most of the work is site-specific and ephemeral.
her photography is more than plain documentation. The images, rupestrian sculpture executed in 1981 in a cave at
Varadero Beach, are being exhibited for the first time.
Mara Martnez-Caas prese nts an installation of the complete portfolio QUince Sellos Cubanos. "Sellos/stamps,
1991 -92," is based on past issues of fifteen original Cuban stamps and fifteen gelatin silver prints in an I I "x 14"
format depicting individual interpretations of each original stamp. She includes stamps that feature reproductlons of
paintings by W ilfredo Lam and Amalia Pelaez, as well as historical personages, landmark monuments. and products
such as Cuban cigars. Accompanying this amusing and highly successful artistic challenge is the artist's statement. "If
a map is used to find and locate, then a stamp is used to deliver (send: separate) and to bring closer (reconcilia tion). In this way, these stamps became an essential instrument in coming closer to my 'Cubanness.'"
Luis Camnitzer places Gory (Rogelio Lpez Marn) along with educator/installation artist Gustavo Perez Monzon
in an exclusive category labeled "The Individualist" in his book, New Art o( Cuba, University ofTexas Press, I 994.
Camnitzer explains this entry by concluding that the artists "only seem individuals in the Cuban context because
they use international references not shared by others." In relation to the series of portraits/retratos included in
American Voices. Gory tells uso "1 started looking at objects. signs, and symbols. Instead of just looking at people. I
looked at things that represented people."
Nereida Garcia Ferraz, painter. photographer. and video artist, travels back and forth , physically and electronlcally.
to Cuba. By doing so. she brings back to her Chicago studio not only memories but also images. It seems that
these encounters and re-enco unters w ith special people and the environment of the island reinforce sensory
coordinates t hat position place and personae in memory.While connecting and communicating with video still
frames, she recreates an encounter with her late grandmother- a silent narrative deciphering complicated vectors.
" 1am confronting the many tensions that exist among us, and supporting a process that dissolves the barriers that
separate uso My hope is that. through my work. I will help to bridge the enormous gaps that exist between nations.
languages, and cultures."
Abelardo Morell turns back the clock. then leads us to the future with simple and elegant black-and-whlte
photography that is surprisingly refreshing. Morell explores the fundamentals of optics and pictorial space w lth hls
camera obscura images. "What interests me about this ongoing work is that the pictures seem to show a klnd of
meeting place for both fact and imagination."
Mario Algaze comes from the tradition of self-taught photojournalism and freestyle portraiture- a rare blend of
street photographer and consummate darkroom virtuoso. Since the very beginning of his career in the 19705, hls
visual thinking process, consistently free from any deep-rooted aesthetic or ideological posturing, was clearly in tune
with the modes of visual thinking in Latin American art. "Ever since I left my homeland, Cuba, at the age of thirteen
60
AMERI C AN
VOI C E S
VOCES
AM ERI C A N A S
in 1960, the rootlessness of all exiles has been a central part of my life and, of course, of my creative energies as
well. My first trip to Latin America in 1974 marked the birth of my raison d'etre and passion as a creative artistgiving immediate visual representation to the way Latin America's life and roots are alive in the presento in portrait s
o f its contemporary artists and th inkers, and in the scenes of everyday life,"
American Voices looks at artlpolitics, nature/fem inism, isolation/transgression, identity/immigration as well as other
issues relevant to hybrid American culture. The artistic quality and commitment of this exhibit reflect the many
faces of photography and its multiple roles in contemporary arto The exhibition deals with culture, not just as a
conceptual phenomenon, but as a matter of individual expression or group consensus. AII of these aspects of
biculturalism and mu lticulturalism are entwined and are superseded by a strong and recognizable commitment to
aesthetics and a new artistic rebirth- what Guillermo Gomez Pea refers to as "an America beyond Columbus."
Cuban American Photography is about individual voices, aesthetics, and personae. When asked how they wanted
to be recognized- Cuban, Latino, H ispanic- they gave varied answers. Some of them consider themselves artists
first and Cubans second. Several are Cubans, first and last. Others feel they are Latin American or just plai n
A mericans who are proudly Cubano
R ICARDO V IERA
C URATOR
6/
GEORGE
BROWN
CONVENT I ON
CENTER
mano de Miami 1-95. picas en calidad. es poesa de la mejor. La man ipulacin del medio va ms all de la realidad.
El color es simblico: registra la memoria y la conciencia de la artista. "Siento que es imposible separar la herencia
cultural del individuo. N o pienso que lo que yo soy y lo que yo hago son cosas separadas."
El trabajo de Arturo Cuenca se describe fcilmente como instalaciones pintadas. debido a la colocacin de
objetos tridimensionales enfrente del lienzo pintado. El se interesa en la mutabilidad de la cognicin y la perc epCin.
" Mi relacin con la fotografa es muy esencial. porque para m la fotografa es el medio que emite con cepto y
conciencia. La fotografa es la esencia de mi trabajo."
Luis Medina fue un fotgrafo importante cuya fotografa arquitectnica y urbana de Chicago le atrajo mucha
atencin y aclamacin crtica en los Estados Unidos y en el extranjero. D avid Travis. curador de fotografa en el
Instituto de Arte de Chicago y consignatario del legado de Luis Medina en el Instituto. escribe: "Las imgenes de
Medina de graffiti. bandas. homosexuales o participantes en la ceremonia de Santera describen sucesos fuertes y
reales ms all de su controlo inventiva."
Ricardo Zulueta no se considera a s mismo como fotgrafo en el sentido tradicional de la palabra: en real idad l
usa la fotografa y la representacin en un contexto escultural. Funciona ms como un director. un conductor. una
especie de filsofo. o simplemente como un artista fuerte en ideas. " Considero mi trabajo ms que nada conceptual con un nfasis en la fotografa como medio. pero uso tambin otros medios."
Tony Mendoza nos da trece imgenes en blanco y negro. siete paneles narrativos. y dos videos en color que
cuentan una increlble historia de revelacin personal. " Hago comentarios sobre mi vida y soy muy abierto sobre
eso. principal mente porque soy un hijo de los aos sesent a . . . he hecho cosas interesantes. de las que considero
vale la pena hablar. Pero tambin. he visto mis cad as. mis fallos y mis desgracias como algo curioso y singularmente
divertido."
Ana Mend iet a es muy conocida como la practicante consumada de las categoras interconectadas del arte-tierra.
arte-cuerpo. arte-espectculo y fotografa conceptual. Ya que la mayora de su trabajo es especfico de un sitio y
efmero. su fotografa es ms que simple documentacin. Las imgenes. esculturas rupestres ejecutadas en 198 I en
una cueva en la playa de Varadero. son exhibidas por primera vez.
Mara Martnez-Caas prese nta una instalacin del portafolio completo Quince sellos cubanos. " Sellos 1991 - 1992."
est basado en emisiones pasadas de quince sellos cubanos originales y quince impresiones en gelatina de plata en
una formato I I "x 14" que describen interpretaciones individuales de cada sello original. Incluye sellos que
representan pinturas de Wilfredo Lam y de Amalia Pelaez. as como de personajes histricos. monumentos
importantes. y productos como los cigarros cubanos. Acompaando este divertido y muy exitoso desafo artstico
est la declaracin de la artista. " Si un mapa se usa para encontrar y localizar: entonces un sello se usa para entregar
(mandar: separar) y para acercar (reconciliacin) . De esta manera. estos sellos se convierten en un instrumento
esencial para acercarme a mi cubanidad."
Luis Camnitzer coloca a Gory (Rogelio Lpez Marn) junto con Gustavo Perez Monzn. educador/artista de
instalaciones. en una categora exclusiva llamada "Los individualistas" en su libro New Art o( Cubo (Universi ty of
Texas Press. 1994). Camnitzer explica esta parte concluyendo que los artistas "slo parecen individuos en el
contexto cubano porque usan referencias internacionales no compartidas por otros." En relacin a la serie de
retratos incluidos en Voces Americanos. Gory nos dice "Comenc a mirar a los objetos. signos y smbolos. En vez de
mirar a la gente. mire a las cosas que representan la gente."
Nereida Garcia Ferraz. pintora. fotgrafa y artista de video. viaja constantemente. fsica y electrnicamente. a
62
VOCES
AMERICANAS
Cuba. Al hacer esto, trae a su estudio de Chicago no slo recuerdos sino imgenes. Pareciera que estos encuentros
y reencuentros con gente especial y el ambiente de la isla refuerzan coordenadas sensitivas que ponen lugar y
persona en la memoria. Al conectarse y comunicarse con imgenes fijas de video, ella recrea un encuentro con su
abuela- una narrativa en silencio que descifra vectores compl icados. "Estoy confrontando las muchas tensiones que
existen entre nosotros y apoyando un proceso que disuelve las barreras que nos separan. Mi deseo es que, con m i
trabajo, ayudar a llenar los enormes vacos que existen entre naciones. lenguajes y culturas."
Abelardo Morell voltea el reloj y nos lleva al futuro con fotografas simples y elegantes en blanco y negro que
son sorprendentemente refrescantes. Morell explora los fundamentos de la ptica y del espacio pictrico con sus
imgenes de cmara oscura. "Lo que me interesa acerca de este trabajo en curso es que las imgenes parecen
mostrar una especie de lugar de encuentro tanto para el hecho como para la imaginacin."
Mario Algaze proviene de la tradicin de fotoperiodistas autodidactas y retratistas de estilo libre- una rara
combinacin de fotgrafo de la calle y virtuoso consumado del cuarto oscuro. Desde el principio de su carrera en
los aos 1970, su proceso de pensamiento visual, consistentemente libre de cualquier postura esttica o ideolgica
enraizada, estaba claramente de acuerdo con los modos de pensamiento visual en el arte latinoamericano.
"Siempre desde que dej mi pas natal, Cuba, a la edad de trece aos en 1960, el desarraigo de todo exilio ha sido
parte central de m i vida, y claro, tambin de mis energas creativas. Mi primer viaje a Amrica Latina en 1974
marc el nacimiento de mi raison d'etre y pasin como artista creativo-dando inmediatamente representacin
visual a la manera en que la vida y las races en Amrica Latina estn vivas en el presente, en retratos de sus artistas
63
MARIA MARTINEZ - CA AS
64
Q UIN(,
H l OS C UBAN OI
GORY
Seri e PORTRA1TS (Andy Warho l)
1988
65
M AR I O A L GAZE
Palacio Nacional
M !xico. D.F.
AG FA - Sd cnium. 1992 P 1993
66
Callay.
1994
67
.Y.
ARTURO
CUEN C A
Sbip-Aln-Srn
19'))
68
SILVIA LIZAMA
1-95 - eO llSlma;01/
- "
69
TON Y
MEND07A
Halloween, 1992. Lydia, who had just turned three, wanted to be a bride.
70
LUI S MEDINA
71
NEREIDA GARC I A
FERRA7
H o mt'1Iojt'
)ul)' 19'14
72
1I ""
abur/,} Alllrgllrilll
RICARDO
ESTANISLAO ZULUE TA
73
Th, 7 POWtrS
1993
74
ANA
MENOI
TA
La VrmlS Nrgra
I Tbr Blnek
v,."usJ
Est3t C
Galer; e Lclong
198 1
75
S{O(lS(lCS ",
G UNTHER,
OIIER A NY M ATTER
that we live in an increasingly interlocked world, for many of us, global awareness is still a distant
concept. How do we bring the world into perspective so that, standing in Houston or Dacca, we understand that we are part of the
interrelated happenings in the world?
Nowhere is this understanding more important than in the environment. The resources of the world on which our existence
depends are neither static nor mindful of national boundaries. Populations are in constant motion, internally and externally. At any
given momento hundreds of thousands of people are crisscrossing the world voluntarily and involuntarily.
considered a method and a common principIe o( are
H ULTEN ,
K UNST-UND- A usSTELLUNGSHAL
PREFACE, ERDSlCHT
~~~~B:~~J\f)
l.\
The Global Environment attempts to bring the world and what we are doing to the earth into immediate and global perspective. We
have seen or imagined the earth through visual representation: drawings, prints, globes, photographs, digital images. First we explored
the surface of the world, and then we then saw the earth from space in the images that came to us from the Apollo spacecraft. For
anyone who has seen this vision of the earth directly or even vicariously, there is a sense not only of the beauty of the earth but also
its awesome fragility in the immensity of space.
This sense of fragility is hardly illusory. Modern human history is putting extraordinary pressure on the earth and its resources.
Statistics are revealing. In 1830, it had taken tens of thousands of years to reach a population of a billion people on earth. Now we are
adding another billion every decade. Every day, another 250,000 people need physical space for shelter and work, w ith the con co mitant need for roads and power stations, As people move into cities, the concentration of population in small spaces requ ires expensive
technical solutions to provide clean air; clean water; drainage, and waste disposal. From Cambodia to Rumania, there is no part of th e
world that is immune to these pressures.
The Global Environment looks at the world through the prism of many images. It moves from two-dimensional pictures, staged and
documentary, to sculptural three-dimensionality, into the unseen pathways of electronic technology.The progression is from past and
present into the future, from the confinement of community to the distance of space . It is rain forest and inner cit y, geography and
architecture, science and the imagination. It is the still picture, and it is modern communication enabling twenty million people across
the world to interact with each other instantaneously. The constant is artistic intent- a coupling of realization and concern about what
we are doing to the earth and to ourselves. It is also about the possibility of hope, learning to benefit from the new access to information that electronic technology gives us, enabling us to have a clearer; more infonmed vision of the world- and our role in this world.
W ENDY W ATRISS
C URATOR
76
G E O R G E
R.
BROWN
CONVENTI O N
C ENTER
Lo realidad global no puede ser percibido directamente sino en pequeos unidades: o travs de los (armas de modelos. diagramas.
estadsticos ... ; an as. lo realidad global tiene un impacto codo vez ms grande en lo vida de todos los das.
I N GO
G U NTHER,
Aunque a menudo nos dicen que vivimos en un mundo cada vez ms entrelazado. para muchos de nosotros la conciencia global es
todava un concepto lejano. Cmo ponemos al mundo en perspectiva. para que si estamos en Houston o Dacca. podamos
comprender que somos parte de los sucesos interrelacionados del mundo?
En ningn lugar es ms importante este conocimiento que en el medio ambiente, Los recursos del mundo. de los que nuestra
existencia depende. no son ni estticos ni respetuosos de las fronteras nacionales. Las poblaciones estn en constante movimiento.
interna y externamente. En este momento. cientos de miles de personas estn cruzando el mundo voluntaria e involuntariamente ,
"Usar los Imgenes y los ojos de uno para tratar de entender lo realidad que nos rodeo. puede ser considerado un mtodo y un pnnClplo
comn del arte desde el origen. Durante ms de cien aos. lo cmara ha aumentado nuestras posibilidades de penetrar los secretos de
nuestro medio ambiente. Lo pintura y los imgenes CIentficos no son lo mismo coso. Pero los Imgenes artsticos y cientficos tiene el mismo
ongen: lo necesidad de comprender mejor 01 mundo."
P O N1U S
H UlTEN,
B ONN,
PREFACIO. ERDSICHI
El Medio Ambiente Global trata de dar una perspectiva inmediata y global del mundo y de lo que le estamos haciendo a la tierra.
Hemos visto o imaginado la Tierra a travs de representaciones visuales: dibujos. impresiones. globos. fotografas. imgenes digitales.
Primero exploramos la superficie del mundo. y despus vimos la Tierra desde el espacio. en las imgenes que nos llegaron de la nave
espacial Apollo. Para cualquiera que haya visto esta imagen de la Tierra directa o al menos indirectamente. hay un sentimiento no slo
de su belleza sino tambin de su terrible fragilidad en la inmensidad del espacio.
Este sentimiento de fragilidad no es ilusorio. La historia moderna de la humanidad est ejerciendo mucha presin sobre la T ierra y
sus recursos. Las estadsticas son reveladoras. Para 1830. haba tomado decenas de miles aos para alcanzar la cantidad de un billn de
pobladores en la Tierra. Ahora estamos aadiendo un billn cada dcada. Cada da. otras 250.000 personas necesitan espacio fsico
para protegerse y para trabajar con la necesidad concomitante de carreteras y plantas de energa. Cuando la gente emigra a las
ciudades. la concentracin de pobladores en lugares pequeos requiere de soluciones tcnicas costosas para proveer con aire yagua
puros. de drenaje y disponer de la basura. Desde Camboya hasta Rumania. no hay lugar en el mundo que sea inmune a estas
presiones.
El Medio Ambiente Global mira al mundo a travs del prisma de muchas imgenes.Va desde fotografas dimensionales, escenificadas y
documentales. hasta esculturas tridimensionales. y los desconocidos caminos de la tecnologa electrnica. El progreso va del pasado al
presente hasta el futuro. desde el encierro de la comunidad hasta la distancia del espacio, Es la selva tropical y las grandes ciudades. la
geografa y la arquitectura. la ciencia y la imaginacin. Es la fotografa fija. y la comunicacin moderna que permiten a veinte millones de
personas en el mundo comunicarse instantneamente con otros. La constante es la intencin artstica - una unin de la real izacin y
la preocupacin de lo que le estamos haciendo a la Tierra y a nosotros mismos. Es tambin sobre la posibilidad de la esperanza. al
aprender a beneficiarnos del nuevo acceso a la informacin que la tecnologa electrnica nos da. lo que nos permite tener una visin
ms clara e informada sobre el mundo-y nuestro papel en l.
W ENDY W ATRISS
C URADORA
78
I MAGES
rai n forests. pesticides. and endangered species. there are monuments. war. and the inner cities; all are part of the
interconnected web of what is happening to the earth. At the center. but seldom seen. is population.
Images o( che World begins with the Amazon because it is one of the richest and most fragile ecosystems in the
world. What is occurring in the Amazon symbolizes what is happening to our environment-to land. air. water. and
animal and human populations.
Near the southwestern end of the Amazon. Brazilian artist Marcos Santilli has documented the process of
encroachment upon the territory of Rond6nia. Where there were two cities in 1977. now there are thirty; in one
year. one city went from 3.000 to 60.000 people. In Rond6nia. the harbingers of industrial progress. the railroad and
the trans-Amazonian highway. not only failed to live up to their promise but also destroyed vast areas of the rain
forest without appreciable benefit. To the north. in one of the most isolated parts of the Brazilian Amazon. Claudia
Andujar has spent over twenty-five years documenting and working with indigenous Yanomami communities
struggling to protect themselves from the incursions of malaria-bearing gold-seekers and modern economic changes.
In A sia. Marc Riboud 's recent images of Angkor Wat reveal another dimension of the relationship of man and
nature. There human society is destroying one of its own great creations. A perverse combination of neglect and
military conflict is allowing the jungle to reclaim one of the irreplaceable treasures of the world.
Coexistence with other species is at the heart of work by Susan Middleton and David Liittschwager. who first
photographed the endangered species of California ando most recently. endangered species across the United States.
" It is not only what. but how much:' Middleton says. "We are living in a period of exceptionally high rate of species
extinction. Only this time can we attribute the process of extinction to a single species. Homo sapiens."
Industrialization has increased the demand for all natural resources as well as the need for more efficient food
production and cheaper en ergy. As a result. there is more widespread use of pesticides in agriculture and development of new fuel sources around the world.The effects of pesticides on farmworkers and their families in California's
Central Valley is documented by Davi d Wells. "Throughout the Valley and particularly small grape towns of McFarland.
Delano. and Fowler. there have been regular poisonings of the population:' Wells says. One of the consequences of
increased nuclear energy use is recorded by Arturo Garca Campos. who has photographed children from the
Ukraine. Byelorussia. and Russia undergoing special treatment at a Cuban hospital for illnesses thought to be linked
to radiation exposure from the meltdown in Chernobyl.
Czech-born photographer Antonin Kratochvil documents the results of the pell-mell effort to industrialize the
economies of central and eastern Europe after World War 11 and the si de effects of oil exploration in the Ecuadoran
79
GEO R GE
R .
BROWN
CONVENTION
CE NTER
Amazon. Japanese American photographer Masumi Hayashi focuses on Superfund sites in the U.s. and the surrealist
interplay of what is real and illusion in both photography and the environment.
In the nineteenth century, landscape photography in the U.s. promoted development of the Western frontier and
awareness of the importance of its natural resources.The West came to symbolize the splendid hope of the nation. It
remains one of the richest regions of the U.S., but some of its most precious resources are being endangered. Cofounders of the Water in the West project Peter Goin and Robert Dawson documento in a style remin iscent of their
nineteenth-century predecessors, the despoliation of water and land in the West.
With similar commitment to detail and large-format imagery,Toshio Shibata creates a deceptively beautiful and
formali st look at how the Japanese landscape is harnessed to meet the needs of increasing urban ization. Cities and
the urban environments are handled in a very different manner by Ryuji M iyamoto, Ricardo Jimenez, Ricardo Gomez
Perez, and Stephen Shames. Miyamoto focuses on the architectural landscape created by uncontrolled migration and
concentrated urban settlement. In terms of its evolution and fate , Miyamoto's Kowloon may be an urban equivalent
of the Amazon; both evolved on the outskirts of modern civilization, and both were forced to create methods of
survival at variance with modern day politics.
The automobile and its dominance over traditional patterns of life is Jimenez' vision of Caracas, one of Latin
America's fastest growing cities today H is images are a counterpoint to Gomez-Perez's soft-focus look at the
fragments of the old city.There is nothing Iyrical or sentimental about Shames' look at what the inner city is doing to
the quality of life of young people in the U.s. "Every day 135,000 children bring guns to school. Every day 10 children
die from guns and 30 are wounded," Shames cites in his book Outside The Dream, Child Poverty in America.
War is another dimension of the pressures human society imposes on the environment. Its legacies are long-lived
and costly. It took thirty years to rebuild the cities and economies of Europe after World War 11. The ruins of Beirut.
recorded by Antonin Kratochvil in 1992-93, have their counterparts in Dubrovnik, Sarajevo, Suchitoto, and Kabul.
Among the many legacies of the 1945 bombing of Hiroshima are the remnants of children's lives, photographed by
Japanese photographer Hiromi Tsuchida. In Landscapes o( the Cold War, Barbara Norileet looks at one of the more
hidden aspects of war- thousands of square miles of land used for weapons development sites and the chemical and
toxic wastes contained on these sites.
Scottish conceptual artist Ron O'Donnell takes all of these issues and restages them into color tableaux satirizing
the waste, materialism, and nuclear fantasies of modern civilization. Onto a field of flowers, leaves, and the human
body, in life-size solar photogram s, Martha Madigan inserts the starving faces of Somalian children.The fragile nature
of life is trapped, as it were, between rock and metal in Ellen Garvens's sculptural, mixed-media work. Patrick
Nagatani looks unblinkingly at the humorous absurdity of the nuclear obsession and landscapes, which carry the seed
of our apocalypse and the possibility of apocalypse. His collaborative piece with Andre Tracey brings Images o( the
World full circle w ith its portrayal of the relationship of the postmodern world to its pre-industrial forebears.
W ENDY W ATRISS
C URATOR
80
E L
M ED I O
A M B I E N TE
GLO B AL
IM AGE N ES
DEL
M U N DO
tropicales, los pesticidas y las especies en peligro de extincin, hay monumentos, guerra y grandes ciudades. Todo
esto es parte de la red interconectada de lo que le est pasando a la Tierra. Al centro, pero casi nunca vista, est la
poblacin.
Imgenes del mundo empieza con el Amazonas, porque ste es uno de los ms ricos y frgiles ecosistemas del
mundo. Lo que le est pasando al Amazonas simboliza lo que le pasa a nuestro medio ambiente- al suelo, aire, agua,
poblaciones animales y humanas.
Cerca del suroeste del Amazonas, el artista brasileo Marcos Santilli ha documentado el proceso de invasin en el
territorio de Rondnia. Donde, en 1977, haba dos ciudades, ahora hay treinta; en un ao una ciudad creci de 3,000
a 60,000 habitantes. En Rondnia los precursores del progreso industrial, del ferrocarril y de la autopista transAmazonas, no slo no cumplieron sus promesas sino que tambin destruyeron grandes reas de la selva tropical sin
mucho beneficio. Al norte, en una de las partes ms aisladas del Amazonas brasileo, Claudia Andujar ha pasado ms
de veinticinco aos documentando y trabajando con las comunidades indgenas Yanomami, que luchan por
protegerse de la llegada de los buscadores de oro, enfermos de malaria, y de los cambios modernos en la economa.
En A sia, las imgenes recientes de Marc Riboud en AngkorWat, revelan otra dimensin de la relacin del hombre
con la naturaleza. All la sociedad humana est destruyendo una de sus creaciones ms maravillosas. Una
combinacin perversa de negligencia y conflicto militar est permitiendo que la selva reclame uno de los tesoros
irremplazables del mundo.
La coexistencia con otras especies est en el centro del trabajo de Susan Middleton y David Liittschwager. quienes
primero fotografiaron las especies en peligro de extincin en California, y ms recientemente, en todo Estados
Unidos. "No slo es qu, sino cunto," dice M iddleton. "Estamos viviendo en un perodo de cantidades
expecionalmente altas de especies en extincin. Slo que esta vez, podemos atribuir el proceso de extincin a una
sola especie, el Homo sapiens."
La industrializacin ha incrementado la demanda de todos los recursos naturales, as como la necesidad de una
produccin ms eficiente y barata de alimentos y energa. Como resultado, existe un uso ms extendido de los
pesticidas en la agricultura y un desarrollo de nuevas fuentes de combustible en el mundo. Los efectos de los
pesticidas en los trabajadores agrcolas y en sus familias en el Valle Central de California estn documentados por
D avid Well s. " En todo el Valle y particularmente en los pequeos pueblos vieros de McFarland, Delano y Fowler. se
han producido envenenamientos regulares de la poblacin," comenta Wells. Una de las consecuencias del aumento
en el uso de la energa nuclear est registrada por Arturo Garca Campos, quien ha fotografiado nios de Ucrania,
Bielorrusia y Rusia sometidos a un tratamiento especial en un hospital cubano, debido a enfermedades vinculadas a la
radiacin proveniente de la explosin de Chernobyl.
El fotgrafo de origen checo, Antonin Kratochvil, documenta los resultados del confuso esfuerzo por industrializar
las economas de Europa Central y del Este despus de la Segunda Guerra Mundial, y los efectos secundarios de la
exploracin petrolera en el Am azonas ecuatoriano. El fotgrafo japons-americano, Masumi Hayashi, se enfoca en los
sitios nucleares en los Estados Un idos y el juego surrealista de lo que es real y lo que es ilusin t anto en la fotografa
como en el medio ambiente .
En el siglo diecinueve, la fotografa de paisaje en los Estados Unidos promovi el desarrollo de la frontera oeste y
el reconocimiento de la importancia de sus recursos naturales. El Oeste vino a simbolizar la esplndida esperanza de
8/
GEORGE
R.
B R O WN
CO NV E NT IO N
CE N TER
la nacin.Todava es una de las regiones ms ricas de los Estados Unidos. pero algunos de sus recursos ms
importantes. estn en peligro. Cofundadores del proyecto Agua en el Oeste. Peter Goin y Robert Oawson.
documentan. en estilo parecido a al de sus predecesores del siglo pasado. el saqueo del agua y del suelo en el Oeste.
Con un compromiso similar con el detalle y en imgenes de gran formato.Toshio Shibata crea una visin
engaosamente bella y formalista de cmo el paisaje japons est siendo aprovechado para llenar las necesidades de
la urbanizacin. Las ciudades y los medios ambientes urbanos estn manejados de una manera muy diferente por
Ryuji Miyamoto. Ricardo Jimnez. Ricardo Gmez-Prez y Stephen Shames. Miyamoto se enfoca en el paisaje urbano
creado por la concentracon de una migracin incontrolada. En trminos de su evolucin y futuro. la ciudad de
Kowloon de Miyamoto pudiera ser un equivalente urbano del Amazonas; ambas se desarrollaron en los bordes de la
civilizacin moderna. y ambas fueron forzadas a crear mtodos de sobrevivencia en discrepancia con la poltica
moderna.
El automvil y su dominio sobre las modos tradicionales de vida. es la visin de Jimnez sobre Caracas. una de las
ciudades que crece ms rpido en Amrica Latina. Sus imgenes son un contrapunto a la mirada fuera de foco de
Gmez-Prez. de los fragmentos de la vieja ciudad. No hay nada lrico o sentimental en la visin de Shames sobre lo
que las grandes ciudades estn haciendo a la calidad de vida de los jvenes en los Estados Unidos. "Cada da 135.000
nios llevan armas a sus escuelas. Cada da 10 nios mueren a causa de las armas y 30 nios son heridos:' ci ta
Shames en su libro A(uera del sueo: Pobreza in(antil en Estados Unidos.
La guerra es otra dimensin de las presiones que la sociedad humana impone en el medio ambiente. Sus legados
son largos y costosos.Tom treinta aos reconstruir las ciudades y economas de Europa despus de la Segunda
Guerra Mundial. Las ruinas de Beirut. registradas por Antonin Kratochvil en 1993-94. tienen su contrapunto en
Oubrovnik. Sarajevo. Suchitoto y Kabul. Entre los muchos legados de los bombardeos de 1945 en Hiroshima estn
los recuerdos de las vidas de los nios. fotografiados por el japons Hiromi Tsuchida. En Paisajes de la Guerra Fria.
Barbara Norfleet mira a uno de los aspectos ms escondidos de la guerra- miles de millas cuadradas de suelo
usadas como sitios de desarrollo de armas y los desperdicios qumicos y txicos contenidos en estos si tios.
El artista conceptual escocs. Ron O'Oonnell toma todos estos temas y los reinstala en escenas de color que
satirizan el desperdicio. el materialismo. y las fantasas nucleares de la civilizacin moderna. En un campo de nores.
hojas y el cuerpo humano. en fotogramas de tamao natural. Martha Madigan inserta los rostros fam licos de los
nios de Somalia. La naturaleza frgil de la vida est atrapada entre la roca y el metal. en los trabajos esculturales de
medios mixtos de Ellen Graves. Patrick Nagatani mira sin pestaear al gracioso absurdo de la obsesin y los paisajes
nucleares. que llevan la semilla y la posi bilidad de nuestro apocalipsis. Su pieza en cooperacin con Andre Tracey.
cierra el circulo de Imgenes del mundo con su retrato de la relacin del mundo posmoderno con sus antepasados
preindustriales.
W ENDY W ATRISS
C URADORA
82
Rondni 1978
83
CLAUD I A ANDUJAR
Yanomami Indians
84
TOSHIO
SHIBATA
Izumi Vil/ag.,
Kumamolo Pr~ftctur~. /990
85
MARC
RIBOUD
70ur iJ
ISW
86
qUIltrr visl1grs
dr T, Som
MASUMI
HAYASHI
81
DAVID
H. WELLS
From a photO-cssay on how agr icu lruraJ c hc mica ls
are poisoning CaJifornia's Ccnrral Va ll cy.
F~'ipt Franco ignOrtl his motha 's t./Jor(J 10 fud him,
/0
88
Ramonas
ANTONIN
KRATOCHVIL
Thar Factor Polluting th. Air
Tiergu, Mures, Rumania, 1989
89
ART U R O
GARC I A
CA M POS
90
PETER GiN
91
RYUJI MIYAMOTO
Kowloom Walkd City
92
STEPHEN SHAMES
Ralphjumps
Rafael ( 13) jumps from ono
building
1977
93
[O
RICARDO
jlMENEZ
Srr DE m
H C ..... RRO
G/mm.!. 1993
94
RICARDO GO ME Z - PERE Z
95
96
HIROMI TSUCHIDA
Dr~JS
Sctsuko Ogawa (2 1 al (he rime) was pa rti cipa rin g in m o rning p hysica l cxcrcisc ar
the Fifth Arrny headqu a rtcrs. loc. ted 800 meters from the hypocenre r. Although
shc so ughr refuge
al
(O
Shc was rhen rcscucd by soldi crs a nd acco mm odarcd ar an arrny hcadqu a rrcrs. On
Augusr 9. shc was rra nsfc rrcd ro a no rh e r laca ri a n, bU{ dicd o n August 11 .
97
ROBERT DAWSON
Flood,d Snlr Air Pn/liliol/. Crrnr Snlr L,rkr.
1%
98
SUSAN
99
MARTHA
MADIGAN
Dallrt"-lduuiry
fro",
H UMAN
A r Rl-
100
ELLEN GARVENS
80sqll' /992
Toned phorogra"h. copper a nd stcel
/0/
102
PATRI CK NA G A T ANI
Bal FliglJl
103
RO N
O'DO NN ELL
Nudt'lIr
1987
104
\~lJlitJ
1111
T II E
lO B A
WORI.D
VIRONMI NI
PR OCESSO R
TH
HaltL
Globes
IN I 492 .
G E R M A N seafarer and cosmographer named Martin Behaim completed the oldest known
and preserved globe. It was an Instrument of advertising made at that time to ill ustrate and persuade South
German traders to fund a Portuguese expedition to China. In the very first year of its completion. this first
globe became obsolete. Columbus had returned from Amenca and brought with him knowledge of a new
contlnent.
Through the dark European Mlddle Ages. Islamlc sClentlsts had sheltered the ancient and fundamental
cosmologlCal work that served as the basis for this fir51 globe
B.C.
the circumference at 45.000 kilometers. astonishingly close to the actual size of 40.000 km.
Some 2200 years later. in 1987. a friend gave me a globe to t ake care of when she left the country. I fell in
love with the globe and never gave it back. I bought another one for reasons of symmetry. After a few months.
I ended up with a whole fam ily of globes that has been growing ever si nce: today there are more than one
hundred.
At a time when Internatlonalizatlon is creating an Increaslngly homogenous world. leaving only traces of
Indlgenous cultures. and others are submerged in the so-called Internatlonal standard and econo-industnal loglc,
how do you show hopeo despalr. elegance. or temptatlon on a global scale?
I was dnven by the observatlon that globes symbolize rather than convey the earth. Considering the amount
of Informatlon now eXlstlng about the planet. topical or thematlc globes can help the development and use of a
different visual language. The ubiquitous common code of cartography. which depicts low-Iying lands as green
and mountains as brown. leads to such absurdities as a green Sahara and brown mountainous tropical
rain forests of the Sierra Madre.
Reduced to a human scale of perception. roughly the size of a head. globes normally represent the earth at a
scale of anywhere between 1: I O mdllon and 1:200 million.The ones I use have an original scale of 1:42 mili ion
maklng the globes twelve Inches In dlameter. Given thls scale. forty-two mdlIon globes would have to be made
In order to do justlce to the world. at least the physlcal world. But then what to do about the almost SIX blllion
human belngs breedlng on the sunace? And what about the changes In the world. which are occurnng faster
than ever. so that nothlng
IS
and everythlng becomes? In 1990 and 199 I . the borders ofYemen. Iraq. and
Germany moved. and the breaklng o ff of a huge iceberg changed the geographical shape of Antarctica.
In such a dynamic world. globes seem utterly inadequate . Electronic gear and databases can take us on an
interactive journey around the world in a matter of seconds. Once the user cuts through the stratosphere and
105
GfORG f
BROWN
CONVrNTION
C [NTER
the cloud cover. he is free to zoom down to follow the Oow of a river or visit a village. He can dive through the
canopy of the rainforest and summon the perspectlve of a research expedition examining mlcroblologlCal life
on the bottom of the Jungle while comparative statlstical data roam the top quarter of the screen In the
eyephone of thls virtual explorer. Computers not only condltion and structure the kinds of Informatlon that we
can access. they also determine the shape and formo or the aesthetlcs. of the information. The globe has served
both practically and psychologlcally for five centuries. Its lack of detall required interpolation and Insplred
imagination. It has nourished our fantasy of distant continents and cultures. In view of this. the World Processor
project pays homage to the illuminated globe. soon to be a part of the romantic pasto that has for so long been
the focus of our always new views and visions of the planet.
INGO G NTHER
106
THE
GLOBAL
ENVIRONMENT
EL
MEDIO
AMBIENTE
GLOBAL
original de 1:42 millones, lo que hace que los globos tengan 12 pulgadas de dimetro. Debido a esta escala,
necesit aramos 42 millones de globos para hacerle justicia al mundo, al menos al mundo fsico. Pero entonces, qu
hacer con los casi seis billones de humanos que respiran en la superficie? Y qu pasa con los cambios en el mundo,
que estn ocurriendo ms rpido que nunca, as que nada es y todo se convierte? En 1990 y 199 I las fronteras de
Yemen, Irak y Alemania se movieron, y el rompimiento de un gran iceberg cambi la forma geogrfica de la
Antrtica.
En un mundo tan dinmico, los globos parecen totalmente inadecuados. El equipo electrnico y las bases de
datos pueden llevarnos en unos segundos a un viaje interactivo alrededor del mundo. Una vez que el usuario pasa
a travs de la estratosfera y la capa de nubes, es libre de bajar volando y seguir el curso de un ro o visitar un
pueblo. Puede adentrarse en la bveda de la selva tropical y requerir la perspectiva de una investigacin cientfica
examinando la vida microbiolgica en el interior de la selva, al mismo tiempo que datos estadsticos comparativos
recorren la parte de arriba de la pantalla en el sonovisual de este explorador virtual. Las computadoras no slo
condicionan y estructuran la clase de informacin a la que podemos tener acceso, tambin determinan la figura y la
forma o la esttica de la informacin.
El globo ha servido prctica y psicolgicamente por Cinco siglos. Su falta de detalles requera de interpolacin e
inspiraba la imaginacin. Ha alimentado nuestra fantasa sobre continentes y culturas distantes. En vista de este
hecho, el proyecto del Procesador del mundo es un homenaje al globo iluminado, que pronto ser parte de
nuestro romntico pasado, que ha sido por tanto tiempo el foco de nuestras siempre nuevas visiones e ideas sobre
el planeta.
I NGO G NTHER
107
INGO GUN I l l l H
FRESH WATER
RESERVES
97. 4% ofthe world's wnter is ocenll wnter. 2% is accounted for by ice cnps nlld gJciers. nbollt 0.6% is gro und
wnter which constitute the n aire ftesh wnter reserves 0/1 enrth. Lnke /Vnter represents 0110/ 7 millionths ofthe
world's wnter. e/ouds 0/10/ 1 millio/1th. nnd river /Vnter 10% 0fn millionth.
RESERVAS
DE AGUA
DULCE
97.4% del ngua del mundo es ngun de mnr. 2% del ngun dulce SO Il cnpns de hielo y gJcinles. cercn de 0.6% estn
bnjo m elo lo que constituye todns Ins reservns de agua d uLce en Ln tierra. l ngun de los Jgos represenlll slo 7
millonsimas del ngun mundinl. las nubes slo una millonsimn y eLngun de ros 10% de l/na millonsimn.
108
I N GO G NTH E R
POPULATION
BUBBLE
The question wilL not be what, but how to feed a population which wilL exceed 10 bilLion in the next century.
Since 1985, beca use ofagricuLturaL engineering advances, the earth has yieLded more food than we can possibly
consume, yet geopoliticaLstructures continue to Leave milLions ofpeopLe dying ofstarvation.
GLOBO
DE
POBLACION
La cuestin no ser con qu, pero cmo aLimentar una poblacin que exceder Los 10 bilLones en eL prximo
sigLo. Desde 1985, debido a Los avances de ingeniera agrcoLa, la tierra ha producido ms comida de La que
podemos consumir, an as las estructuras geopoLticas siguen dejando morir de hambre a milLones de personas.
109
INGO GNTHER
POL L U T ION
OZONE
HOLE
PORTRAIT ,
1988
C ON T AM I NA CI ON
RETRATOS
DE AGUJEROS
1988
DE
OZONO ,
110
CHERNOBYL
CLOUD
NUCLEAR
NUBE
DE
DE S IRE
CHERNOBYL
DESEO
NUCLEAR
I N GO G N T HER
111
IN GO G N THER
REFUGEE
CURRENTS
Today J5 mil/ion refogees are registered worldwide, the largest number ever. The width olthe arrows indica tes the
relative amount 01 refi'gees.
CORRIENTES
DE
REFUGIADOS
Actllalmente existen J5 millones de refugiados registrados en todo el mundo, la ms grande cantidad jams
obtenida. El grosor de las flechas indica la cantidad relativa de refogiados.
11 2
INGO GNTHER
MOUNTAINS
MONTAAS
OF
DE
113
DEBT
DEUDA
INGO
GNTHER
SATELLITE ' S
BLIND
SPOTS
The public service Landsat System has b1ind spots over territory and time. However. personal satellites can be
purchased for about the price ola Mercedes. Space junk is increasingly hard to track.
PUNTOS
CIEGOS
DE
UN
SATELITE
El servicio pblico Landsat System tiene unos puntos ciegos sobre el territorio y el tiempo. Sin embargo. SI' pueden
comprar satlites personales por el precio de un Mercedes. La basura espacial es cada da ms diflcil de rastrear.
11 4
THE
GLOBAL
limh
~um
DR. CAROLYN SUMNERS
DIR ECTOR OF A STRONOMY AND THE PH YSI
H OUSTO
Welcome
(O
AL SCIE
CES
rhe Earrh Forum. USlng rh,s global commUnlca!lon and In(ormarion network. visir differenr conrinenrs and invesrigare rhe planer"s
In
aCllon or compare global graph,cs and resou rce dalO bases. Warch
rhe planer"s popula!lon grow and predlCr ,rs e((ecr on rhe worlds (uture . The rools (or global d,scuss,on and deba re are ar your (ngef!lps.
THE
PHILOSOPHY
Thus begins an interactive and self-directed exploration of the challenges now facing planet Earth. For the first
time in its history, humanity can identify absolute limits to its expansion and to the extension of its control over the
environment.
Apollo astronauts captured the first images of a finite Earth with limited land, water. air. and natural resources.
Humans have also learned that it is very difficult to create a sustainable remote biosphere and that other planets are
not frontiers to absorb humanity's expanding population. Meanwhile, global death rates are dropping and the
population is soaring in regions that are least able to support it.
Worldwide communication has brought awareness of worldwide living conditions. Developed nations are faced
with images of the plight of humanity around the world and must address the moral dilemma associated with
allocating limited food, fuel, water. and habitat resources. Computing power and data-storage capabilities provide
tools that allow humanity to address complex global problems with realistic assessments of current conditions, of
future options. and of the consequences following specific decisions.
The Earth Forum shows how global databases (with information, tables, graphics, images, and video) are
constructed and how they can be accessed and compared. Six different world work stations demonstrate how
people around the planet can be connected on an information superhighway, with the whole world as close
as a computer screen.
11 5
G E O R G I
THE
BROW
E N 1 10
CO
C I N I
FOCUS
15
work statlon, vlsl tors determine he global Impact o a resource. the dynamlcs o global populatlon change, and he
speClfic condl Ion s or one-slxth of he plane
S OUI H
AM E R IC A
'5
&
sunace.
B I O DIV[RSI
15
most Immedlate
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A US IRA II A,
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11 6
T H E
W OR
ST A TION
4 : A SI A
&
GLO BA L
E N VI RONM E N T
T H E A T M OSPHERE
.~;
W OR
. --=- -=--="'-
... -
5:
ST A TION
... ..-._,-,-
.~_--:-_. =:-
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W OR
STATION
6 : A FRICA
&
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0 - 0.15
0.15 - 0.25
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. 0.50 - 1.0 . ov.,.0
. 0.25 - 0.50
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1/ 7
GEORGE
THE
BROWN
CONVENTION
CENTER
EXHIBIT
The Earth Forum exhibition has been created by the Houston Museum of Natural Science (HMNS) In cooperation with FotoFest to highlight Earth I-esources. world geography. and global information access. At FotoFest's Flfth
International Festival of Photography. a sixteen-foot-wide moving Earth image draws visitors through the darkened
Hall of Globes onto thl s information superhighway of the future . In it s centel: an interactive theater presen s Earth
images and the status of activity on the encircling electronic network.
Visitors climb a curved ra mp to enter world work stations connected in an information and video network. The
ram p's arc symbolizes global connectivity surrounding a dynamic Earth. Crystal-shaped cubicles extrude from the
ramp's inner curve. Each is an electronic work station where real crystalline lattices store and process millions of
data bits each second.
Within each cubicle. angular forms dissolve into an ergonomic curvilinear design that welcomes its human
passengers. Maps. overlays. transparencies. globes. and laser disk imagery assist teams on their wor ldwlde Information journey. Telecommunication lines provi de video conferencing between work stations.
Access to The Earth Forum's information and communication network refiects the way humans communlca e
and acquire information in the rea l world. The work station computer
15
about the worldwide sta te of resource variables.The computer also establishes the specific problem solvlng stra egy
of each work station. Teams at other work stations around the network are as close as video conferenclng can
bring them.
After the FotoFest Festival.The Earth For um will be given by FotoFest to the Houston Museum of N atural
Science as a permanent earth systems education center for H o uston.The center will have multiple fun ctions: a
computer lab for students. an interactive museum exhibit for the general public. and an Earth Theater within the
Museum's Burke Baker Planetarium. A National Aeronautics and Space Administration grant to Rice UniverSl ty wd l
connect The Earth Forum and other Museum space and earth science exhibits to Internet data and Image sources
around the globe.
The Earth Forum is a joint creative effort of D r. Carolyn Sumners. the Museum's director of astronomy and the
physical sciences: Robert Samen. project architect and Robert Sumners. proJect software deslgner and programmer.
D r. Robert Fox has compiled all population data from United Nations databases. Maria Villanueva
15
responslble for
design of all graphics. Debbie Valdez. Paula Cutler, and Janel Badrina have produced work station databases. wh de
Neal Desai and D aw son Valdes assisted in the programming. Ryan W yatt is responsible for projection of Earth
Forum imagery in th e Burke Baker Planetarium.
NASA's Johnson Space Center has provided images and film stock for exhibits. The National Geographic Socl ety
has donated the earth surface videos and stills.The W orld Resources Institute has provided global databases wlth
additional information from the United N ations. the W orld Health Institute. and Worl dWatch. WorldSat International has created the high-resolution global satellite view. and Spherical Concepts has produced a unlque collee Ion
of database globes.
1/ 8
EL
MEDI O
AMB I ENTE
GLOBAL
El foro de la Tierra
D R. CAROLYN SUMNERS
Bienvenido al foro de la Tierra. Usando el Sistema de comunICacin e informacin, visite diferentes continentes e investigue la cambiante poblacin y los
recursos naturales del planeta. Capture imgenes espaCIales de la Tierra o compare las grficas globales y los datos de base. Mire la poblacin del planeta
crecer y prediga su efecto en el futuro del mundo. Las herramientas para la discusin y el debate mundial estn en sus manos.
LA FILOSOFA
A s comienza una exploracin interactiva y guiada por uno mismo, sobre los cambios que enfrenta el planeta
Tierra. Por primera vez en su historia, la humanidad puede identificar los lmites absolutos de su expansin y la
extensin de su control sobre el medio ambiente.
Los astronautas del Apollo capturaron las primeras imgenes de una Tierra finita con suelo, agua, aire y recursos
naturales limitados. Los humanos tambin han aprendido que es muy difcil crear una bisfera relativamente
sostenible y que otros planetas no son fronteras capaces de albergar la creciente poblacin humana. Mientras tanto
las tasas globales de mortalidad est n disminuyendo y la poblacin est creciendo desmesuradamente en regiones
que no son capaces de sostenerla.
En el mundo entero las comunicaciones han brindado conocimiento sobre las condiciones de vida en otras partes.
Las naciones desarrolladas se enfrentan con imgenes de las condiciones de la humanidad en el planeta, y deben
resolver el dilema moral asociado con la distribucin de alimentos, combustibles, agua y recursos ambientales. El
poder de las computadoras y la capaci dad de concentracin de datos proveen herramientas que permiten a la
humanidad emprender complejos problemas globales con evaluaciones reales de las condiciones actuales, de las
opciones futuras y de las consecuencias derivadas de estas decisiones especficas.
El foro de la T ierra muest ra (con infor macin, listas, grficas, imgenes y video) cmo las bases de datos globales
son construidas, cmo se accede a ellas y se comparan. Seis difere ntes estaciones de trabajo demuestran cmo la
gente en el planeta puede conectarse con todo el mundo, en una autopista de informacin, a travs de una pantalla
de computadora.
/2/
GEO R GE
B R O WN
CO N VENT IO N
CEN T E R
EL ENFOQUE
Cada una de las estaciones de trabajo de El foro de la Tierra es un espacio de exhibicin enfocado en un
continente y sus recursos. En cada una de las estaciones de trabajo. los visitantes determinan el impacto global de un
recurso. las dinmicas de los cambios en la poblacin global. y las cond iciones especficas de una sexta parte de la
superlicie del planeta.
E ST A CIO
DE
TRABAJO
11 1 : A MERIC A
D EL
S UR
&
B IODIVERSIDAD
E STACIO
DE
TRABAJO
11 2 : AM ERICA
D EL
N ORTE
&
A GUA
DULCE
E STACION
DE
TRABAJO
11 3 : A USTRALI A .
O CEANIA
&
LOS
O CEANOS
122
EL
ESTACION
DE
TRABAJO
#4 : A SIA
MEDIO
AMBIENTE
GLOBAL
& A TMOSFERA
La capa de aire que rodea al planeta protege toda forma de vida debajo
de ella. Las crecientes poblaciones. especialmente en las reas urbanas.
contaminan esta capa. el ms preciado y global de todos los recursos.
DE
---""----
TRABAJO
#5 :
E UROPA
&
EN ERGIA
DE
TRABAJO
#6 : AFR ICA
& AL I M ENTOS
._u . . . .. . . . .
123
GEORGE
LA
R.
BROWN
C ON V ENTION
C EN T ER
EX HIB IC ION
La exhibicin de El foro de la Tierra ha sido creada por el Houston Museum of Natural Science (HMNS) en
cooperacin con FotoFest. para destacar los recursos de la Tierra, la geografa del mundo, y el acceso a la
informacin global. En El Quinto Festival de Fotografa de FotoFest, una imagen rotante de la Tierra, de diecisis pies
de ancho, atraer a los visitantes a travs de El vestlbulo de globos hasta la autopista de informacin del futuro. En su
centro, un teatro interactivo presenta imgenes de la Tierra y la actividad en el sistema electrnico que lo rodea.
Los visitantes suben por una rampa para entrar a las estaciones de trabajo conectadas en un sistema de
informacin y video. El arco de la rampa simboliza el enlace global que rodea a una Tierra dinmica. Los cubculos de
cristal sobresalen de la curva interna de la rampa. Cada uno es una estacin electrnica de trabajo donde verdaderos
reticulados cristalinos guardan y procesan millones de datos cada segundo.
Dentro de cada cubculo, las formas angulares se disuelven en un diseo ergonmico curvilneo que da la
bienvenida a sus pasajeros humanos. Mapas, cubiertas, transparencias, globos e imgenes de discos lser dan
asistencia a los equipos en su viaje de informacin por el mundo. Las lneas de telecomunicacin proveen
conferencias en video entre dos estaciones.
El acceso al sistema de informacin y comunicacin de El foro de la Tierra refleja la manera en que los humanos se
comunican y adquieren informacin en el mundo real. La computadora de la estacin de trabajo es un facilitador que
conduce a los visitantes a la informacin sobre el estado mundial de las variables de los recursos. La computadora
tambin establece la estrategia para resolver el problema especfico de cada estacin de trabajo. Los equipos en
otras estaciones de trabajo en el sistema estn tan prximos como una conferencia de video los puede acercar.
Despus del festival. FotoFest donar El foro de la Tierra al Houston Museum of Natural Science , como parte de
un centro permanente de sistemas educativos para Houston. El centro tendr mltiples funciones: ser un
laboratorio computacional para estudiantes, una exhibicin museogrfica interactiva para el pblico general, y un
Teatro de la Tierra dentro del Planetario Burke Baker del mismo museo. Una beca de la National Aureonatics and
Space Administration otorgada a Rice University permitir conectar El foro de la Tierra a otros espacios
museogrficos y exhibiciones sobre la ciencia de la tierra con Internet y fuentes de imgenes en el mundo.
El foro de la Tierra es un esfuerzo creativo conjunto de la Dra. Carolyn Sumners, directora de astronoma y
ciencias fsicas del museo, de Robert Samen, arquitecto del proyecto, y de Robert Sumners, diseador del software y
programador del proyecto. El Dr. Robert Fox ha recopilado todos los datos poblacionales de las bases de datos de la
Naciones Unidas. Mara Villanueva es responsable del diseo de las grficas. Debbie Valdez, Paula Cutler y Janel
Badrina produjeron las bases de datos de las estaciones de trabajo, mientras que Neal Desai y Dawson Valdes
ayudaron en la programacin. Ryan Wyatt es responsable de las proyecciones de las imgenes de El foro de la Tierra
en el planetario Burke Baker. El Johnson Space Center de la NASA provey imgenes y pelculas para las
exhibiciones. La National Geographic Society ha donado los videos y fotos de la superficie de la Tierra. El World
Resource Institute otorg las bases de datos globales con informacin adicional de las Naciones Unidas, World
Health Institute y WorldWatch. WorldSat International ha creado una vista global de un satlite de alta resolucin y
Spherical Concepts ha producido una coleccin nica de globos con bases de datos.
/24
EVOLUTIo/REVOLUTION
GEORGE
R.
BROWN
CONVE N TION
CE NTER
fashion:
EVOLUT I ON / R EVOLUT I ON
Fashion photography constitutes one part of a complex world of designers, manufacturers and merchants, magazine
editors, agencies, models, and photographers. Fashion design is shaped not only by the tastes of the rich and those
who cater to the rich, but also by art, movies, music, the street styles of the young, and the changing roles of men
and women. Fashion photographers, while recording the products of the fashion industry, also interpret aspects of
the changing social milieu from which fashion springs.
This exhibition renects many aspects of our twentieth -century world: the evolution of manners, ideas of style and
beauty, how people have looked and wanted to look, and how they have wanted to be portrayed. In fashion design
there has always been a delicate balance between constriction and liberation, with the dominance of one over the
other changing from decade to decade in a discourse that goes beyond fashion itself.
At the beginning of this century, conventional dress for women was constrictive. The corsets, layers of clothing,
and fine detail of ladies' garments all renected the protected, essentially domestic roles allowed to women by late
Victorian society. The late nineteenth and early twentieth centuries witnessed the heyday not only of the Suffragettes, demanding political emancipation for women, but also of anti-tight-Iacing leagues and The Rational Dress
Association that called for the liberation of women's bodies. Women's participation in sports such as tenn is demanded freer. looser forms of costume, while dancer Isadora Duncan sought naturalness and freedom of movement,
which the corseted dignity and formality of conventional turn-of-the-century dress made impossible. Where Isadora
Duncan and subsequently Irene Castle led, fashion followed . During the first quarter of the century, clothes and the
way they were represented became progressively less restrictive. In the postwar 1920s French designer Coco Chanel
innuenced the movement toward a more casual look with the use of knitted fabrics, short skirts, and elimination of
detail. She designed for the rich, but her look was copied across-the-board.
Although skirts became longer during the 1930s, functional clothes prevailed through the 1940s because of
wartime constraints. In the conservative fifties, complicated clothes came back again: voluminous skirts, tight waists,
hats, gloves, and lots of detailing. The dressy look was a return to the days of the famous nineteenth-century
couturiers such as Worth in Paris, whose clothes were so well made that they could be worn inside out. In the
swinging sixties, everything changed again. Skirts went up on Carnaby Street, and the street styles of the young in
London came to dominate fashion . Pierre Cardin, meanwhile, created fashion for the public and almost singlehandedly brought new attention to fashion in men's dress. As a result of Cardin's and others' work. pret-a-porter
(ready-to-wear) and boutiques displaced haute couture at the center of the world of fashion .
In the last twenty-five years, women's fashion has gone from short skirts to long skirts and back to short. It has
/ 26
FASH I O N :
EVOLU T IO N
RE VOLU T IO N
been through fun furs, pantsuits, jeans and jackets, "power" suits and shoulder pads. Now in the mid-1990s
women are jogging and working out, caring about body shape and freedom of movement. Echoing developments
of a century ago, new styles are 50ft. We have seen discipline and expression; now we are witnessing
deconstruction in clothing.
We are also witnessing new modes of thinking and writing about the way fashion is presented and recorded via
the medium of photography.
In the early twentieth century, Baron DeMeyer was the first well-known fashion photographer. His work was
strongly influenced by the soft-focus romanticism of Alfred Steiglitz and other Photo-Secessionists. In the 19205, the
sharp-edged black-and-white photographs of Edward Steichen and George Hoyningen-Huene helped to revolutionize the way fashion was represented. In the 19305 and 19405, Louise Dahl-Wolfe and Martin Munkacsi introduced
movement and a new informality by doing much of their work on location outside the studio, on the beach, and
elsewhere. Shortly thereafter, Richard Avedon, William Klein, and Frank Horvat went one step farther by juxtaposing
fashion with the life of the streets, bars, circuses, and casinos. In all their work, an aura of neo-realism provides the
background for the glamour and beauty of fashion .
In the 1960s and 19705, photographers su eh as Helmut Newton and Chris von Wangenheim created erotic
situations that made sexuality an overt part of fashion. At the same time, a softer, more romantic approach to the
depiction of women and fashion was taken by Deborah Turbeville and Sarah Moon.The works of Gilles Bensimon
and Patrick Demarchelier show the well -toned, athletic female body that became a central focus of attention in the
eighties. Today, the traditional boundaries between genders are often blurred in photography. as they are in real life in
the messages of gay liberation and militant feminism .The roles of male and female are interchangeable in the work of
Herb Ritts and Bruce Weber; men are as important as women .
In 1955, fashion photography took on its own glamorous dimensions with Michelangelo Antonioni 's film Blowup,
inspired by the English photographer David Bailey. Prior to the sixties, fashion photographers were not generally well known to the larger public, and even the best, such as Horst, tended to think of themselves as craftsmen rather than
artists.Today, fashion photographers such as Richard Avedon are viewed as important artists whose works are the
subjects of ambitious exhibitions in major museums. Avedon and younger photographers like Steven Meisel and Herb
Ritts are celebrities who impose their own points of view on the representation of fashion . It is the fashion
photographer's job to react to fashion, but nowadays in 1994, all of us, including the fashion makers, respond with
genuine excitement and pleasure to the ways photographers depict the designs.
ETHELEEN STALEY AND T AK I W ISE
C URATORS
127
G EO RG E
R .
BROWN
CO N V ENT IO N
CE NT ER
Moda: Evolucin/Revolucin
Poco tiempo despus de la invencin de la fotografa, los artistas comenzaron a registrar las imgenes siempre
variables de la moda. La fotografa de moda forma parte de un complejo mundo de diseadores, fabricantes y
comerciantes, editores de revistas, agencias, modelos y fotgrafos. El diseo de moda est definido no slo por los
gustos de los ricos y de aqullos que los complacen, sino tambin por el arte, las pelculas, la msica, los estilos
callejeros de los jvenes y los cambiables roles de hombres y mujeres. Los fotgrafos de moda, al registrar los
productos de la industria de la moda tambin interpretan aspectos del variable medio social del que la moda surge .
Esta exhibicin refleja muchos aspectos de nuestro mundo en el siglo XX: la evolucin de las costumbres, las ideas
de estilo y belleza, cmo la gente se ve y quiere ser vista, y como quieren ser descritos. En el mismo diseo de moda
siempre ha habido un delicado balance entre constriccin y liberacin, con la influencia de uno sobre el otro
cambiando de dcada en dcada en un discurso que va ms all de la moda.
Al principio de este siglo, el vestido convencional de la mujeres era constrictivo. Los corss, las capas de ropa y los
pequeos detalles de los vestidos de las damas, todo reflejaba los papeles protegidos, esencialmente domsticos que
se les permita a las mujeres al final de la sociedad victoriana. El final del siglo diecinueve y el principio del siglo veinte
fueron testigos del apogeo no slo de las sufragistas pidiendo emancipacin poltica para las mujeres, sino tambin
de las ligas anti-Iazos-apretados y la Asociacin del Vestido Racional que luchaban por la liberacin de los cuerpos de
las mujeres. La participacin de la mujeres en deportes como el tenis exiga ropas con formas ms sueltas, al tiempo
que una bailarina como Isadora Duncan buscaba la naturaleza y libertad del movimiento, la dignidad del cors y la
formalidad del vestido de comienzos de siglo hacan esto imposible . Cuando Isadora y posteriormente Irene Castle
indicaron el camino, la moda las sigui. Durante el primer cuarto del siglo, la ropa y la manera en que era representada se hicieron progresivamente menos restrictivas. En los aos veinte despus de la primera guerra, la
diseadora francesa Coco Chanel inici el movimiento hacia un aspecto ms casual con el uso de telas de punto,
faldas cortas y la eliminacin del detalle. Ella diseaba para los ricos, pero su estilo fue copiado por todos.
Aunque las faldas se hicieron ms largas durante los aos treinta, la ropa funcional prevaleci hasta los aos
cuarenta debido a las restricciones de la guerra. En los conservadores aos cincuenta, la ropa complicada regres
otra vez: faldas voluminosas, cinturas pequeas, sombreros, guantes y muchos detalles. El aspecto elegante era un
regreso a los das de los famosos couturiers del siglo XIX, como Worth en Pars, cuya ropa estaba tan bien hecha
que podan ser usada al revs. En los modernos aos sesenta todo cambi de nuevo. Las faldas subieron en Carnaby
Street, y los estilos callejeros de los jvenes en Londres comenzaron a dominar la moda. Mientras tanto Pierre
Cardin, creaba moda para el pblico y casi a solas atrajo nueva atencin a la moda en la ropa de los hombres. Como
resultado del trabajo de Cardin y de otros, el pret-a-porter (Iisto-para-usar) y las boutiques desplazaron la alta
costura del centro del mundo de la moda.
En los ltimos veinticinco aos la moda de la mujeres ha ido de faldas cortas a faldas largas y de regreso a las
cortas. Ha pasado por pieles fantasa, trajes pantaln, jeans y chaquetas, trajes "poder" y hombreras. Ahora, a
mediados de los aos noventa, las mujeres corren y se ejercitan, se preocupan por la forma de su cuerpo y la
libertad de movimiento. Haciendo eco a los desarrollos de hace un siglo, los nuevos estilos son suaves. Hemos visto
/ 28
M ODA
EVOLUCIO N / RE VOLUCIO N
/ 29
REUTLINGER STUDIO
Untitled
c. 1905
130
PARIS
13 1
EDWARD STEICHEN
Mariofl Mor~holl.u
132
GEORGE
HOYNIN G EN - HU E N E
Gtorgia Grtlvt'J
133
E . R . RICHEE
Cary Coop"
193 1
134
H o RS T
Hd~1I Bl'fIll~tI
Par;s. 1936
135
in
Cnp~
Drfss
NORMAN PARKINSON
Golfing
1939
136
H ORST
MarLtnt Dittrich
1942
/37
138
HENRY C LARKE
Bn/ntciaga. 1955
Model: Ann Sainte-M ari e
139
WILLIAM
KLEIN
Optrn and 81<11I/' Fam, Vogut, ['ar, / 963
/ 40
MELVIN
SOKOLSKY
141
AR T
KANE
Bm Z ucktrman FaJhion
VogUt, 1962
/ 42
HIRO
/ 43
/ 44
HELMUT
N E W TON
\\'t'omllll ObSt'rlling \1an
/ 45
ARTHUR
ELGORT
/ 46
HERB RITTS
1984
147
BRU C E WEBER
Rob~rl
/ 48
WAYNE MASER
Cu~SJ
Fashioll
/ 49
A NO ART SPACES
THROUGHO UT HOUSTON
]OIN FOTOFEST IN SHOWING
PHO TOGRAPHIC EXHI BITIONS
D URING THE FIFTH INTERNATIONAL
FESTIVAL OF PHOTOGRAPHY
NOVEMBER,
1994
1994 .
---- alleries
Art spaceMuseums
The listed galleries and art dealers have elected to exhibit work at
the George R. Brown Convention Center adjoining the FotoFest-sponsored exhibitions
during the Fifth International Festival of Photography.
Las galeras y comerciantes de arte aqu listados han decido exponer obras en el Centro
George R. Brown, unindose as a las exhibiciones organizadas por FotoFest durante el
Quinto Festival Internacional de Fotografa.
FOTO ZEUM
INMAN GALLERY
THE
SONGS
OF
MY
M USEUM
OF
FINE
ARTS.
HOUSTON
CANCIONES
PEOPLE
KEITH
MI
GENTE
HAOLEY
DE
153
TEXAS
SALLY
GALL : NEW
GALLERY
PHOTOGRAPHS
SALLY
GALL : NUEVAS
FOTOGRAFIAS
$AllY GAll
G/m Cor
1992
154
CO NTEMPORAR Y
SOPHIE
AR TS
MU SE UM .
HOUSTON
CALLE : ROMANCES
SOPHIE
Romance-adrenaline-charged
encounters with mysterious strangers,
unfulfilled desires, and tragic young
lovers-permeates Western culture; fairytale fantasies distort our perceptions of
real-life relationships and shape the
stories we tell.
Sophie Calle, an internationally
acclaimed French artist, explores notions
of romance in film and in haunting phototext works.
Romances is an intensely personal
series. The artist lets us peer into her own
relationships, where the alluring rituals
and trappings of romance are often
tainted by disheartening ambiguities. In
each of these works, Calle pairs a story
from her past w ith a striking large-scale
photograph that offers a single iconic
image (a love letter, a wedding portrait),
which in turn acts almost as evidence that
her stories are true (the letter was
written, the wedding too k place). Still, we
cannot be sure .
CALLE : ROMANCES
Romance-encuentros cargados de
adrenalina con desconocidos misteriosos,
deseos insatisfechos y trgicos amantes
jvenes- permean la cultura occidental;
las fantasas de los cuentos de hadas
distorsionan nuestras percepciones sobre
las relaciones cotidianas y definen las
historias que contamos.
Sophie Calle, una artista francesa
reconocida internacionalmente, explora
las nociones del romance en cine y en
perturbadores trabajos de foto-texto.
Romances es una serie intensamente
personal. La artista nos permite mirar sus
propias relaciones, donde los atractivos
rituales y adornos del romance estn a
menudo manchados con ambigedades
descorazonadoras. En cada uno de estos
trabajos, Calle empareja una historia de
su pasado con una impresionante
fotografa de gran tamao que ofrece una
sola imagen icnica (una carta de amor,
un retrato de bodas) que a su vez acta
casi como evidencia de que sus historias
son verdaderas (la carta fue escrita, la
boda tuvo lugar) . Pero todava no
podemos estar seguros.
STEPHANIE SM ITH
C URATORIAL A SSISTANT
STEPHANIE SMITH
A SISTENTE DEL CURADOR
155
G AL V [ S I O N
ON
COU NTY
HI STO RI CAI
TRABAJANDO
PELICULA
FILM
EN
LOS
MUELLES
EN
Wor J. mR he Wl1lerfronr on F,lm 15 rnade poss,ble In pan by el gr,nt (rom the Texas Commluee for
M US [ U M
PAUI
VI R ,
t.J
I'o rr o[ GnlllrJlOll
Coun c,y uf Pca hody
E SM.:X MII ~c urn .
Sa lcl1I .
156
H ERMES
POWER
OF
LOOKING
ARNAULT JOUBIN : EL
PODER
DE
LA
MIRADA
A LAIN D ELooSE
ALA IN D ELooSE
ARNAULT JOUBIN
157
GOETHE - I NSTITUT .
GER M AN
CULTURAL
HOUSTON
RINGL &
OF
STUDIO
CENTER
1928-1911
RINGL
&
PIT: BERLlN
1928.1911
Estudio Ringl & Pie Berln 1928- /933 es una retrospectiva del
trabajo de Ellen Auerbach y Grete Stern. Ambas mujeres estudiaron
con el famoso profesor de la escuela Bauhaus. Walter Peterhans.
Aunque en ese tiempo era inusual que mujeres abrieran un estudio.
Auerbach y Stern lo hicieron en 1930. usando los apodos Ringl y Pit.
Los nuevos usos de la luz y la misin de la escuela Bauhaus de /levar
la fotografa de arte moderno al estudio comercial. fueron realizados.
En contraste con este trabajo innovador. la fotografa comercial de la
poca pareca plana y artificial. La fotografa de Ringl & Pit fue
redescubierta en 1978. Esta exhibicin es presentada gracias a la
Galena Robert Mann. de Nueva York.
158
GOETHE I N s r I T u r .
P I NGl
PI'
GER MAN
CULTURAL
C[N r ER
W INIFREO CASSON
Ln MajllJ
c. 1936
159
'un
Pon,
or
HOUSTON
NATIONSBANK
FIRES
EN
LOS
DAvE W llSON
DAvE W llSON
/ 60
NATI O NSBANK
DAV[
WIlSON
MI/K"''' \'(/,1111116
199 1
/61
FOTO ZEUM
/62
CUADROS
MARK DAUGHHETEE
Th, Banqutt
1993
/63
LAWNDALE
KO YAHADA
REFLECTED
ART
AND
PERFORMAN C E
KO YAHADA
IDENTITY
IDENTIDAD REFLEJADA
Si fuera el nico
I am not myself
N o soy yo m ismo
I am not here
N o estoy aqu
15
the person
yo y la persona
Ko Yamada
Ko Yamada
/ 64
C ENIER
lAWNDAlE
ART
AND
PERFORMANCE
KO YAMAOA
/ 65
CENTER
GALVESTO N
WHERE
HAVE YOU
GONE , JOE
ARTS
DIMAGGIO ?
CE NTER
ADONDE
HAS
IDO, JOE
DIMAGGIO?
BILL THOMAS
M(/{'hnn /rom nu
S U I CID~ S~R"';
1992
/ 66
GALVESTO N
IN
MY
FATHER'S
SWEETEST
ARTS
DREAMS
EN
GEO F F W INNINGHAM
Un,ided
,he se ries IN M v
LOS
MAS
DULCES SUEOS
DE
MI
PADRE
From
C ENT ER
1994
/ 67
RI C E
BY
LUIS
MEDIA
MEOINA,
CE N TER
HECHOS Y
FABULAS
DE
LUIS
MEOINA
D AVID T RAVIS
C URADOR
/68
LU I S MEDINA
Chicago. 1978
/69
HCUSTON
CE NTER
FOR
PHOTOGRAPHY
COMMUNITIES , CULTURE,
DIFFERENCE
170
HOUSTON
CE N TER
FOR
OSAMU JAMES
HEATER S ERI ES
PH OTOGRAP H Y
NAKAGAWA
11 1
1994
F I REHOUS E
GAL L ERY
/ 72
FESTIVALS
OF
LIGHT
1994
MUSEUM
FESTIVAL
DE
LUCES
1994
The works of more than 700 children fill the Edwal-d Rudge Allen.
Jr. Inspira lons Gallery. Llght. captured by sClence and expanded Into
he realm of maglC by cultures across the globe. 15 the subect of thls
exhlblt created by Houston students at Jersey Vlllage High School
and Post Elementary School. Cultural celebratlons represented in
thls second annual presentatlon of winter festivals of IIght include
Dlwall In India, LOI Krathong in Thailand, Chanukah, Las Posadas,
Wlnter Solstlce, Christmas, and Kwanzaa.
Mlke Nebel's advanced photography studen ts from JerseyVillage
H lgh School Introduced the art of cyanotype to the entlre student
body at Post Elementary. Students from both schools added Images
o f thel r own w lnter celebratlons and ideas about IIght to complemen Images Insplred by other cultures. Interactlve IIght actlvltles
comple e he exhlblt.
aRAOY COH EY
Grad. 12,
Jmry Vil/ag. High Se"ool
IllJlructor, Mik~
173
N,bl!/
M C M U RTRE Y
KEITH
CARTER
GALLE R Y
KEITH
CARTER
CARl l R
KEITH C ARHR
K I I III
ARTER
Chit'!ulI FnlllJrrs
1993
/ 74
GALLERY
ANO
ART
SPACE
EXH I BI T S
In addition to the galleries and art spaces that have chosen to include their shows in the FotoFest '94 exhibitions
catalogue. the listings below indicate the wealth and diversity of viewing possibilities available throughout Houston
during the Fifth International Festival of Photography.
T H E H EIGHTS GAllERY
3517 Austin
November 21-February 13, 1995
H OUSTON
1 1 10 W inbern. 522-5013
November 19-December 3 1
G AllERY
31 15 D'Amico. 527-0303
November 10-30
Views o( Haly by
Lawrence M cFarland
Hispanic Photographers
November 12-30
Paradoxicol Sco/e
CAFE O N TH E G REE N
John Herrin
4 Riverway
R O BIN SON G AllER IES
G lASSEll S CHOOl OF A RT
Micho/ Rovner
Abstractions in Landscape:
JUOY
B RAZOS B OOKSTORE
MANUAL
N EW G AlL ERY
A RT L EAGUE OF H OUSTO N
M O O DY G A l lERY
T HE M EN ll C OllEC Tl ON
Henri Cartier-Bresson:
Photogrophs o( Houston, I 957
M EREDITH L ONG
&
C OMPANY
Mike Stude
SPACE
EXHIBITS
Photography Houston, Spring '94, co-sponsored by FotoFest and the Houston Center for Photography. included the
following shows. which were exhibited during March and April. 1994.
En colaboracin con otros espacios de arte y galeras. FotoFest copatrocin. junto con el Houston Center for
Photography. Fotografa Houston, Primavera 94, que incluy varias exposiciones en Houston y dos das de Revisin
de portafolios. Las siguientes exhibiciones fueron efectuadas durante marzo y abril de 1994.
AL LEN CENTER
One Allen Center Lobby.
500 Dalias. 65 1- 15 15
The Mi/ton J. Hinton
Photographic Col/ection
409-763-2403
COMMUNITY A RTlSTS' COLLECTIVE
A RCHWAY GALLERY
by Wil/iam Bowen
CONTEMPORARY A RTS MUSEUM
ART LEAGUE OF HOUSTON
/ 76
27 19 Colquitt. 526-5966
Duane M ichals: Paris Stories
Fannie Tapper. M ixed Motives
GREMILlION & Co . FINE A RT
GALL ER Y
AND
ART
SPACE
EXHIBITS
M ILLlOUD G ALLERY
Underwater Li{e
M OODY G ALL ERY
INMAN G ALLERY
C.
G. j UNG C ENTER
1.
K AHN G ALLERY
Kahn Collection
P ARKERSO N G ALLERY
L A S TRADA R ESTAURANT
&
R . M . G ALL ERY
P ERFORMAN CE
D EAlER IN FINE A RT
C ENTER
35 14 Lake, 526-0761
Blair Pittman: My Texas Icons
SALLY S PROU T G ALLERY
/ 77
U NIVERSITY OF H O USTO N ,
S MALL P ROJECTS G AlLERY
31 15 D 'Amico, 527-0303
Dale O'Dell: New Works
Judy M . Youens: Our Town
SEWALL ART
GA L L ERY . RI C[
U NIVER SITY
CURATOR
CURADORA
CYNTHIA LEIGH-NUSSENBLATT:
AMERICAN FLAT
Texas Women's University. Denton. Texa s. In 1984. Amencon Flal was also curated
/ 78
SEWALL
ART
GALLERY .
RICE
UNIVERS I TY
r
Mon/u)' Paw 151. Trop'z / 968
E L llOT T E RWIT
/ 19
INM A N
JANE
GALLERY
JANE
HINTON
HINTON
BLAKEMORE
AMY
BLAKEMORE
/80
INMAN
GALLERY
JANE HINTON
S./ah Cruk #3
1994
AMY BlAKEMORE
AMY BLAKEMORE
OUa Woman
1993
1993
/8 /
IN HOUSTON TO BRING
U.S.
ANO ABROAD.
DE LOS ESTADOS
EXTRANJ ERO .
182
t Exh1-bItI
- - ns
~ 1994
CUBAN
HOTOGRAPHY
MIL B Y
BRIAN WEIL
F OTO FE ST
A T
THE
WORTHAM
GUILLERMO KAHLO
FOUR DECADES OF
MEXICAN PHOTOGRAPHY
SCALA DIVA
FOTOFEST
IN
GALVESTON
FOTOFEST
AT
THE
MEN IL
played as important a part in the life of a nation as Cuban photography did in the early decades of the
Cuban Revolution. For twenty years after the installation of the Revolution. photography was an integral part of the process of social
change and one of the Revolution 's principal avenues of mass communication. This was the era of the classical and epic work of the
Revolution- Osvaldo Salas. Constantine Arias. Raul Corrales. Alberto Korda. Mario Garca Hoya.
In describing this period, Cuban photographer and photohistorian Maria Eugenia Haya has written: "The victory of the Cuban revolution
on January 1, 1959, initiated a process which, from the first, attracted all Cuban photographers, both amateur and professional. For a long
time . Cuban photography would be dominated by that overwhelming historical moment that began when all of Cuba ... was 'Iistening to
no other voice than that of " Radio Rebelde" from the mountains of the Oriente:"
Cuban photography of the 1960s and 1970s was characterized by heroic imagery in representation and sentiment. It not only documented but helped to create the process of change. A s young Cuban art critic Antonio Molina has written: "Cuban photography . . .
sought to be profoundly effective as a means of communication. This goal .. . made photography one of the clearest manifestations of
commitment to the revolutionary process." Its best known icon became Alberto Korda's photograph of the young Che Guevara, one of
the most widely reproduced images in the world.
Today, thirty-five years after the installation of the Revolution. a different artistic sensibility is expressing itself. It is more internalized and
personal. more analytic and more experimental. Ambiguity has replaced clarity. New subject matter has appeared: religious ritual. AfroCaribbean culture, the body as symbol of social experience, the visual ironies of public life and public places.
The work of these fifteen photographers spans two decades and almost two generations. Their work is a bridge between a time of
commitment and celebration, and a period of introspection and isolation. Rigoberto Romero's heroic portraits of sugar cane workers and
Mario Daz's classical street photography are a bridge to earlier generations. Alfredo Sarabia, Jos Ney, Carlos Mayol. Humberto Mayol.
Max Orlando Baos take the documentation of street life onto a more subjective and provocative leve 1. Younger photographers such as
Katia Garca Fayat and Pedro Abascal are carrying on documentary traditions. but with more analytic intimacy than their predecessors.
A growing number of photographic artists have abandoned these traditions to explore more personal and conceptual forms of expression:
photographers such as Marta Mara Prez, Juan Carlos Alom, Carlos Garaicoa. Manuel Pia, Ren Pea, and Eduardo Muoz. Rene Pea
looks away from street life to changing iconography of the interiors of Afro-Cuban homes. Manuel Pia transforms the street corners of
Old Havana into shadowy specters of life. Carlos Garaicoa creates architectural fantasies as ironic commentaries on what is happening to
the urban infrastructure of Havana. Eduardo Muoz looks at the zoo and the slaughterhouse as metaphors for the condition of human
society. Marta Mara Prez uses her own body to reflect on social and physical transformation with reference to traditional superstitions
and Yoruba rituals. Juan Carlos Alom reappropriates Yoruba ceremony and belief as well !ls photographic techniques from old postcards,
daguerreotypes. and "costumbrista" portraits of Cuban society.
This exhibition was originated by FotoFest in cooperation with the Fototeca in Havana. After its showing March-April, 1994 at The Menil
Collection's Richmond Hall in Houston, the exhibition was shown at the Havana Bienal in May 1994. It is dedicated to the work of Maria
Eugenia Haya (1944-199 1), a founder of the Fototeca.
W ENDY W ATRI55
C URATOR
/ 84
FOT OFEST
EL
MEN IL
La Nueva Generacin
Fotografa contempornea de Cuba
Pocas veces se le ha dado a la fotografa la oportunidad de jugar un papel tan importante en la vida de una nacin como se le dio a
la fotografa cubana en las primeras dcadas de la Revoluci n Cubana. Durante veinte aos despus de la instalacin de la Revolucin,
la fotografa fue una parte integral del proceso de cambio social y una de los principales medios de la Revolucin para la comunicacin
masiva. Esta fue la era del trabajo clsico y pico de la Revolucin- Osvaldo Salas, Constantino Arias, Ral Corrales, Alberto Korda,
Mario Garca Joya.
Al referirse a este perodo, la fotgrafa y fotohistoriadora, Mara Eugenia Haya escribi: " La victoria de la revolucin cubana el lo de
enero de 1959, inici un proceso que desde el principio atrajo a todos los fotgrafos cubanos, tanto aficionados como profesionales.
Durante mucho tiempo, la fotografa cubana estara dominada por ese arrollador momento histrico que comenz cuando todo Cuba
.. . no oa otra voz que la de "Radio Rebelde" desde las montaas de Oriente."
La fotografa cubana de los aos 1960 y 1970 estuvo caracterizada por imgenes heroicas en su representacin y sentimiento. No slo
documentaba sino ayud a crear el proceso de cambio poltico. Como Antonio Molina, joven crtico cubano de arte, escribi: " La
fotografa cubana . .. se vio dirigida a lograr una profunda efectividad comunicativa .... Estas intenciones hicieron de la fotografa una de las
manifestaciones ms evidentemente comprometidas en la prctica con el proceso revolucionario: ' Su icono ms conocido es la fotografa
que Alberto Korda hiciera del Che Guevara, una de las imgenes ms reproducidas en el mundo.
Hoy, 35 aos despus de la instalacin de la Revolucin, una sensibilidad artstica diferente se est expresando. Es ms interiorizada y
personal. ms analtica y ms experimental. La ambigedad ha reem plazado a la claridad. Han surgido nuevos temas: el ritual religioso, la
cultura afro-cubana, el cuerpo como smbolo de experiencia social, las ironas visuales de la vida pblica y de los lugares pblicos.
El trabajo de estos quince fotgrafos se extiende por dos dcadas y por casi dos generaciones. Su trabajo es un puente entre una poca
de compromiso y celebracin, y un perodo de introspeccin y aislamiento. Los retratos heroicos de Rigoberto Romero de cortadores de
caa de azcar, y la fotografa clsica de la calle de Mario Daz son un puente entre los ms jvenes y las generaciones anteriores. Alfredo
Sarabia, Jos Ney, Carlos Mayol. Humberto Mayol, Max O rlando Baos llevan la documentacin de la vida en la calle a un nivel ms
subjetivo y provocativo. Los fotgrafos jvenes como Katia Garca Fayat y Pedro Abascal siguen la tradicin documental. pero con ms
intimidad analtica que sus predecesores. Un nmero cada vez ms grande de artistas fotogrficos han abandonado estas tradiciones para
explorar formas ms personales y conceptuales de expresin: fotgrafos como Marta Mara Prez, Juan Carlos Alom, Carlos Garaicoa,
Manuel Pia, Ren Pea y Eduardo Muoz. Ren Pea mira para otro lado de la calle a la cambiante iconografa de los interiores de las
casas afrocubanas. Manuel Pia transforma las esquinas de la Habana Vieja en espectros sombros de la vida. Carlos Garaicoa crea fantasas
arquitectnicas como comentarios irnicos sobre lo que pasa con la infraestructura urbana de La Habana. Eduardo Muoz mira el
zoolgico y el matadero como metforas de la condicin de la sociedad humana. Marta Mara Prez usa su propio cuerpo para reflejar la
transformacin social y fsica con referencias a supersticiones tradicionales y rituales Yoruba. Juan Carlos Alom retoma las ceremonias y
creencias Yoruba as como viejas tcnicas fotogrficas de antiguas cartas postales, daguerrotipos y de 'retratos 'costumbristas' de la sociedad
cubana.
Esta exhibicin fue organizada por FotoFest en cooperacin con la Fototeca de La Habana. Est ded icada al trabajo de Mara Eugenia
Haya (1944-199 I ), uno de los fundadores de la Fototeca.
W ENDY W ATRISS
C URADO RA
/85
i % X- 1'J8?
/ 86
MAX OR LANDO
BAOS
/ 87
La ","giimzn d.
/111
smbolo de la serie
O lA DEL R EY N EGRO.
/88
1994
KI NGI
MANUEL PIA
Sin ttulo de la seri e
A VEN IDA
5 1, 1990- 1991
/89
A VEN UEI
DUARDO MU OZ
Sin t tul o de la se ri e UN
199 J I ')l)2
IU nt itl cd fro m ,he sc ri c"s U N" DA' YES . 0:-':" I)A\ Nol
/ 90
1990
I Proul"follj
/9/
Pro)'~eto
~~
CARLOS GARAICOA
PropurulI pllrll I ,,"rrobnglldJl tlr.!3 rlllrr 2) Huro
{ Proposal/;)r I/'r Afu+ro-b ngndr 111 .!.$rd \ 1 bnu'u" 2 nd .\ 1
\'q:u c:rcolor
/92
1l!1f11'11U Oj
CARLOS GARAICOA
Sin titulo de la serie
1993
[Untitled from the series
193
PEDRO ABASCAL
DE LA ~OMURA
/94
RENE PEA
Sin rtulo de la seri e
H AC IA ADENTRO
1990
195
I NWARO I
JOSE NEY
La H abana, J 990
196
KATIA
GARCIA FAYAT
La Habana. 1989
IUntirled from the series TH E W EDDINGI
/ 97
CARLOS MAYOl
Sin [tulo de la serie Lo RO~MNTlCOS ANCELES DE
U. TI ERRA,
La H abana , 1992
198
A NGELS
HUMBERTO
MAYOL
La Habana, 1992
/ 99
MAR I O
DI AZ
Sin ttulo, 1980
(Untitled(
200
RIGOBERTO ROMERO
Con sudord, millonarios. / 974-75
{Wilh Ih, SW'fll of Millionaim}
20 /
FOTOFE5 T
AT
MILBY
Brian Weil
THE
AIOS
PHOTOGRAPHS
Brion Weil: The AIDS Photographs represents a ground-breaking collaboration between an arts
202
BRIAN WEll
203
FOTOFEST
A T
T HE
WO R THA M
1905-1945
When Romualdo Garca (1852-1930) opened his photography studio in Guanajuato in 1887. Porfirio Diaz had just begun his twenty-sixyear reign as President of Mexico. The government promised peace. prosperity and order. After a decade of turmoil. there was renewed
hope for commerce and economic progress. It was also a time when enormous technological advances in photography gave people access to
high-quality likenesses of themselves and multiple reproductions at relatively low costo In a culture where visual imagery had always been an
important part of public life. it is not surprising that photography was popular and picture studios proliferated.
Among early twentieth-century photography. the work of Romualdo Garca stands out for its technical quality. the sensitivity of the
photographer to his subjects. ando aboye all. the scope of its coverage . AII kinds of people. all ages. all levels of income and class passed
through Garca's studio on Cantarranas Street in downtown Guanajuato. His photographs reflect not only the opulence of life under the
" porfiriato." but the beginnings of the Revolution and the faces of its participants.
Although Romualdo Garca rarely traveled further than Mexico City. his work was exhibited abroad. receiving top honors in the I 889
International Exposition in Paris and ayear later in Mexico City. AII his early work. thousands of glass plates. was destroyed in the flood that
swept Guanajuato in 1904. The existing archive dates from 1905 to 19 14. when he stopped work.
This exhibit was done with the help of the Museo Regional de la Alhndiga de Granaditas. Guanajuato. part of the Instituto Nacional de
Antropologa e Historia (INAH) . Special thanks goes to Rogelio Garca. director.Victor Lara. conservator. and Favi Chavez. laboratory
technician.
AGUSTiN VICTOR CASASOLA-1910-19l0 AN
ERA OF CHANGE
The end of the "porfiriato" and the resignation of President Porfirio Diaz bought about ten years of civil conflict and sweeping changes in
almost every aspect of Mexican life.The Mexican Revolution from 19 10- 1920 has been called the first modern social revolution. The
Revolution came at a time when photography had become an integral part of news reportage . and political figures were well aware of its
utility.
Agustn Victor Casasola (1874-1938). a photojournalist for Mexico City's leading newspapers under the Daz regime. had an uncanny
understanding of photography's importance as social document. Unlike the studio photographers of his time (such as Romualdo Garca).
Casasola worked onsite. taking his camera into the halls of government. the factories. and the streets of Mexico City. In 1914. as the Revolu tion gathered force. he opened one of the world's early picture agencies and Mexico's first Photographic Information Agency. The agency's
work would result in an unparalleled fifty-year record of war and peace.
The Casasola Archive. recognized as one of the great photo documentary collections in the world. traces political movements. governmen tal events. civil war. economic reconstruction. and conditions of life in Mexico from the early 1900s to the I 950s. Many of the Archive's
thousands of negatives and glass plates have never been exhibited or published. To date. the best-known part of the Archive are images of the
Revolution. Politicol History. Plotes o( the Revolution 1910- 191 7. The photographs in th is exhibit include several images from the Revolution and
a larger number of lesser-known images from post-Revolutionary years.
Under the auspices of the Instituto Nacional de Antropologa e Historia (INAH). the Foto Teca del INAH at Pachuca is beginning a massive
project to establish a computerized catalogue of the Casas ola Archive and its other collections.This exhibit was made possible by the
cooperation of the Fototeca ando in particular. Eleazar Lpez Zamora. director. and Juan Carlos Valdz. con servator.
204
ENRIQUE
DIAZ-DIAZ , DELGADO y
GARCIA ARCHIVE ,
1921-1945
MEXICO
CITY
The number of newspapers and illustrated weeklies increased dramatically in Mexico City as the military phase ofthe Revolution began to
subside. Although politics remained unsettled throughout the country, the I 920s and 1930s were a time of economic growth and renewed
industrialization.These years marked the formation and institutionalization of two important forces that would dominate modern Mexico, the
labor movement (the Congress of Mexican Workers) and the National Revolutionary Party, precursor oftoday's governing Institutional
Revolutionary Party (PRI).
In 1920, after seven years in the rank and file of the Revolution, photographer Enrique Daz (1895-1961) formed his own photo agency,
Fotografas de Actualidad, to work with magazines and news publications in Mexico City. In the next few years, he was joined by Enrique
Delgado, Luis Zendejas and Manuel Garca. Their collective work spans sixty years of news events and everyday life in Mexico City.
The Daz. Delgado y Garca collection, with over 400,000 negatives and glass plates, was recently purchased by the Archivo General de la
Nacin in Mexico City. Like the Casasola archives, it is an extraordinary visual resource for the general public and historians investigating the
political and economic development of modern Mexico.
The photographs in this exhibit were provided by the Archivo General de la Nacin of Mexico and the Consejo Nacional para la Cultura y
las Artes of Mexico, from the exhibit " Bailes y Balas," curated by Mariana Yampolsky. Special thanks goes to Leonor Ortiz Monasterio, general
director of the Arch ivo General de la Nacin, Victoria San Vicente, director of the historical collection at the Archivo General de la Nacin,
and Pablo Ortz Monasterio, national coordinator of exhibits at the Consejo N acional para la Cultura y las A r tes.
Four Decodes o( Mexicon History was sponsored by the M. W Kellogg Company, Mr. and Mrs. Larry S. Davis, and Dr. Eileen Davis Farber.
with additional support from Michael A. Chmiel and Haynes & Boone, LLP
ROMUALDO
GARC IA
Sin ttuLo
La Chap"ona
2 05
FOTOFEST
EN
EL
TEATRO
W ORT HAM
Cuando en 1887 Romualdo Garca (1852-1930) abri su estudio fotogrfico en Guanajuato, Porfirio Daz acababa de empezar su rgimen
de 26 aos como presidente de Mxico. El gobierno haba prometido paz, prosperidad y orden. Despus de una dcada de disturbios, haba
una nueva fe en el desarrollo del comercio y de la economa. Tambin fue una poca en la que enormes avances tecnolgicos en la fotografa
permitan a la gente obtener retratos de alta calidad y mltiples reproducciones a un costo relativamente bajo. En una cultura donde las
imgenes visuales han sido siempre parte importante de la vida pblica, no es sorprendente que la fotografa fuera tan popular y que lo s
estudios de retratos proliferaran.
Dentro de la fotografa de principios del siglo, la obra de Romualdo Garca destaca por su calidad tcn ica, la sensibilidad del fotgrafo para
con sus sujetos y sobre todo, el alcance de su cobertura social. Toda clase de gente, de todas las edades, todo tipo de ingresos y clase
pasaron por el estudio de Garca en la calle de Cantarranas en el Centro de Guanajuato. Sus fotografas no slo reflejan la opulencia de la vida
bajo el porfiriato, sino el comienzo de la Revolucin y los rostros de sus participantes.
Aunque Romualdo Garca raramente viajo ms all de la Ciudad de Mxico, su obra fue exhibida en el extranjero, recibiendo grandes
honores en la Exhibicin Internacional de 1889 en Pars y un ao ms tarde en la Ciudad de Mxico.Todo su trabajo anterior. miles de placas
de vidrio, fue destruido en la inundacin que arras con Guanajuato en 1904. El archivo existente data de 1905 a 1914, cuando Garca dej
de trabajar.
Esta exhibicin fue hecha con la ayuda del Museo Regional de la Alhndiga de Granaditas, Guanajuato, que forma parte del Instituto
Nacional de Antropologa e Historia (INAH). Gracias especiales al director Rogelio Garca, al conservadorVictor Lara y al tcnico de
laboratorio Favi Chvez.
AGUSTIN VICTOR CASASOLA-1910-19l0 , UNA ERA DE CAMBIO
El fin del porfiriato y la renuncia del Presidente Porfirio D az trajo consigo diez aos de confl icto civil y extensos cambios en casi todos los
aspectos de la vida en Mxico. La Revolucin Mexicana de 19 l Oa 1920 ha sido llamada la primera revolucin social moderna. La Revolucin
lleg en un momento cuando la fotografa se haba convertido en parte integral de los reportes de noticias, y las figuras polticas estaban bien
conscientes de su utilidad.
Agustn Victor Casasola (1874- 1938), un fotoperiodista que trabajaba para los ms importantes peridicos de la Ciudad de Mxico durante
el rgimen de Daz, tena una comprensin excepcional de la importancia de la fotografa como documento social. A diferenc ia de los
fotgrafos de estudio de su tiempo (como Romualdo Garca) Casasola trabajaba afuera, llevando su cmara a las salas de gobierno, las
fbricas y las calles de la Ciudad de Mxico. En 19 14, cuando la Revolucin cobraba fuerza, abri una de las primeras agencias de fotografa
del mundo y la primera en Mxico, la Agencia de Informacin Fotogrfica. El trabajo de la agencia resultara en un registro inigualado de
cincuenta aos de guerra y paz.
El Archivo Casasola, reconocido como una de las grandes colecciones de fotografa documental en el mundo, sigue los movimientos
polticos, los eventos gubernamentales, la guerra civi l, la reconstruccin econmica y las condiciones de la vida en Mxico desde comienzos
del siglo hasta los aos cincuenta. Muchos de los miles de negativos y placas de vidrio que tiene el archivo nunca han sido exhibidos o
publicados. Hoy, la parte mejor conocida del Archivo es de las imgenes de la Revolucin, Historia Poltica, Placas de la Revolucin 19/0- 191 7.
Las fotografas en esta exhibicin incluyen varias imgenes de la Revolucin y un nmero ms grande de imgenes menos conocidas de los
aos posrevolucionarios.
Bajo los auspicios del Instituto Nacional de Antropologa e H istoria (INAH), la Fototeca del INAH .en Pachuca est comenzando un enorme
proyecto para establecer un catlogo computarizado del Arch ivo Casasola y de sus otras colecciones. Esta exhibicin fue posible gracias a la
cooperacin de la Fototeca y en particular. de su director Eleazar Lpez Zamora y del conservador Juan Carlos Valdz.
206
DE
MEXICO
El nmero de peridicos y de publicaciones semanales ilustradas se increment dramticamente en la Ciudad de Mxico cuando la fase
militar de la Revolucin comenzaba a declinar. Aunque la poltica continu inestable en el pas, los aos veinte y treinta fueron un t iempo
de crecimiento econmico y renovada industrializacin. Esos aos marcaron la formacin y la institucionalizacin de dos importantes fuerzas
que dominaran al Mxico moderno, el movimiento laboral (Congreso de Trabajadores Mexicanos) y el Partido de la Revolucin Nacional,
precursor del Partido Revolucionario Institucional (PRI), que gobierna hoy en da.
En 1920, despus de siete aos en la revolucin, el fotgrafo Enrique Daz (1895-1961) form su propia agencia, Fotografas de Actualidad,
para trabajar con revistas y publicaciones de noticias en la Ciudad de Mxico. En los aos siguientes se le unieron Enrique Delgado, Luis
Zendejas y Manuel Garca. Su trabajo colectivo se extiende durante sesenta aos de eventos noticiosos y la vida cotidiana en la Ciudad de
Mxico.
La coleccin Daz, Delgado y Garca, con ms de 400,000 negativos y placas de vidrio, fue comprada recientemente por el Archivo General
de la Nacin en la Ciudad de Mxico. Como el Arch ivo Casasola, es un recurso visual extraordinario para el pblico general y para
historiadores que investigan el desarrollo poltico y econmico del Mxico moderno.
Las fotografas de esta exhibicin fueron proporcionadas por el Archivo General de la Nacin y por el Consejo Nacional para la Cultura y
las Artes, fueron parte de la exhibicin "Bailes y Balas" montada por Mariana Yampolsky. Gracias especiales a Leonor Ortiz Monasterio,
directora del Archivo General de la Nacin, a Victoria San Vicente, directora de la coleccin histrica del Archivo General de la Nacin, y a
Pablo Ortiz Monasterio, coordinador nacional de exhibiciones del Consejo Nacional para la Cultura y las Artes.
Cuatro dcadas de historia de Mxico fue patrocinado por M. W Kellogg Company, Sr. y 5ra. Larry S. Davis, y la Dra. Eileen Davis Farbes con
el apoyo adicional de Michael A. Chmiel y Haynes & Boone, LLP.
A R C HI VO O I AZ.
D E L G AD O y
GA R C I A
Courtesy of Archivo
General de la Nacin
207
FOTOFEST
AT
THE
W O RTHAM
Guillermo Kahlo
PHOTOGRAPHS OF COLONIAL M EXICO
Shown in
th~
th~
Frida. June 3-16, 1993. with an additional ~xhibition at Brazos Bookstor~. May 20-Jun~ 17
Guillermo Kahlo (1872-1941) was recognized as one of the masters of photography in Mexico. At a time when
smaller-format cameras were produced and journalistic photography was becoming popular. Kahlo remained a classicist, a meticulous
craftsman working in a formal classical style with large-format I I "x 14" glass plate negatives. The renowned Mexican artist Frida Kahlo credits
her father with introducing her to art. H is work became known for its clarity. sharpness, and the extraordinary luminous detail that the large
negative made possible.
In the early twentieth century, a movement to recuperate the country's colonial past began in Mexico. Commissioned by the Porfirio D az
government. Kahlo's magnificent documentation of the architectural heritage of this past became an important part of this movement.
W ithout Kahlo's photographs of the baroque buildings of the seventeenth and eighteenth centuries, one of the most remarkable aspects of
Mexico's cultural history may have been 10st.Twenty-five volumes of Kahlo's Los Templos de Propriedad Federal were published as part of the
massive 19 10 centenary celebration of Mexico's Independence from Spain.
Of this collection, only seventy percent of the original glass plates remain.The balance are duplicate nitrate cellulose negatives thought to
have been done in the 19205.Th is collection and nearly complete set of the albums w ith original prints are now preserved in the archives of
the Fototeca del Instituto N acional de Antropologa H istoria (INAH) in Pachuca, Mexico.The Kahlo collection is on~ of the great photographic treasures of Mexico.
Most of Kahlo's other work- his portraits, landscapes, and industrial plants- has been lost or remains in private collections. However. what
is known has led historians and scholars of photographic history to describe him as a master of the medium: his works provide a vision of
Mexico that goes beyond fol klore and the picturesque.
Th is exhibition was put together w ith the assistance of David Mawaad, editor and designer of the recently published book of Kahlo's work,
Guillermo Kahlo, Fotgrafo Oficial de Monumentos (Casa de las Imagines, Mexico City), and the Fototeca del Instituto N acional de Antropologa
e H istoria (INAH). The exhibition prints were made by the book's co-editor. Al icia Ahumada. Special recognition is due to Eleazar Lpez
Zamora, director of the Fototeca del INAH, and Servando Arechiga, former conservator of the Fototeca del INAH. These exhibits were
sponsored by the Caddell & Conwell Foundation.
208
FOTOFEST
EN
EL
T EA T R O
W O R THA M
de la historia cultural de Mxico pudo haberse perdido. Veinticinco volmenes de Kahlo Los Templos de Propiedad Federal fueron publicados
como parte de la gran celebracin del centenario de la Independencia de Mxico, en 19 I O.
De esta coleccin. slo queda el setenta por ciento de las placas originales de vidrio. El resto son negativos duplicados de nitrato de
celulosa que se piensa fueron hechos en los aos veinte. Esta coleccin y una serie casi completa de los lbumes con las impresiones
originales estn ahora preservados en los archivos de la Fototeca del Instituto Nacional de Antropologa e Historia (INAH) en Pachuca,
Mxico. La coleccin Kahlo es reconocida como uno de los grandes tesoros fotogrficos de Mxico.
La mayor parte del otro trabajo de Kahlo--sus retratos, paisajes y plantas industriales- se ha perdido o permanece en colecciones
particu lares. Sin embargo, lo que se conoce ha permitido a los historiadores y a los estudiosos de la historia de la fotografa describirlo como
un maestro del medio: su trabajo provee una visin de Mxico que va ms all del folclore y de lo pintoresco.
Esta exhibicin fue organizada con la asistencia de David Maawad, editor y diseador del libro de Kahlo publicado rec ientemente , Guillermo
Kahlo. Fo(grafo O(tcial de Monumentos (Casa de la Imgenes, Mxico D.F., 1993), Y por la Fototeca del INAH. Las impresiones para la
exhibicin fueron hechas por la coeditora del libro, Alicia Ahumada. Un reconocimiento especial se le debe a Eleazar Lpez Zamora, director
de la Fototeca del INAH y a Servando Archiga, ex curador de la Fototeca del INAH. Esta exhibicin fue patrocinada por Caddell & Conwell
Foundation.
GUILLER M O
KAHLO
209
F O TO F EST
A T
T H E
W ORTHAM
Scala diva
PHOTOGRAPHS BY ERIO PICCAGLlANO
hOl/m in thr Grand Foyrr ofthr Wortham Cmur in conjunction with t/u Houstoll Grand Oprra's maimtagr productiom ojLa
Traviara and T urandor ill hOllor ofthr Houstoll IlIfrmatiolla/ Frstiva/ 's "Sa/uu to Italy.. April18-May 8. 1994
It is really true that inside La Scala you breathe the air o( opera just as you might breathe the OIr o( the sea. Anyone who works there
that; the look on peop/e 's (aces. their gestures and posture hove a special character and intensity o( their own.
IS
aware o(
of the eighteenth century. when it beca me the new center for cultural life in Mllan. La Scala (11 Teatro alla Scala). has earned
its place as one of the greatest opera theaters in the world. From the curving symmetry of ItS archltecture to the rituals of openlng nlght. the
life of La Scala is suffused w ith theatricality.The opening of the season at La Scala beca me one of the great social events In Europe. and people
traveled to Italy from all over the world to be seen there.
A s royalty mlght do. La Scala has taken care to document ItS own history. Today It possesses one of the world's great archives on the
history of opera. A highlight of the archives is the photography of Erio Piccaglianl from 1950- 1979. Plccagliani was hlred very shortly after the
postwar restoration. and he beca me an integral part of life at La Scala. He was at the theater night and day. photographlng the Intlmate detalls
of backstage work as well as the onstage performances of famous operas. Piccagliani created an archive of 400.000 images. covenng some of
the most important productions.
This collection is now owned by La Scala. Because of restoration needs. however. the collection is not open to the general publtc. Scala diva.
organized by independent curator Silvana Turzio from Milan and Paris. is the first and only such exhibition to be created from thls collectlon.
The presentation at the Wortham Center. made possible by FotoFest in cooperation w ith the Houston Grand Opera and Houston International Festival. was the first showing of Scala DIvo in the U.s. Sponsorship for the exhlbltlon came from Bowne of Houston.
W ENDY W ATRISS
C URATOR
t!Il
honor dr .. (I/lItt' to
Es Cierto que dentro de La Scala respiras la brisa de la pera as como respira uno la brisa del mar. Todo el que trabaja ah se da cuenta de eso: la
mirada en el rostro de la gente. sus gestos y posturas IJenen un carcter especial e intensidad propia.
SllVANA T URZIO y PAUtO FAB8R I
Desde el siglo XVIII. cuando se convirti en el nuevo centro cultural de Miln. La Scala (11 Teatro alla Scala). ha ganado su lugar como uno
de los mejores teatros de pera del mundo. Desde la curvada simetna de su arquitectura
~asta
Vida en La Scala est llena de teatralidad. El comienzo de la temporada de pera en la Scala se convirti en uno de las grandes eventos
sOCiales en Europa. y la gente viajaba a Italia provenientes de todo el mundo para ser ViStoS ah.
Como la realeza. La Scala se ha preocupado por documentar su propia historia. Hoy posee uno de los mejores archivos del mundo en
histona de la pera. Un punto sobresaliente del archivo son las fotografas de Erio Piccagliani realizadas de 1950 a 1979. Plccagltanl fue
contratado por La Scala. poco despus de la restauracin del teatro durante la posguerra. y se convirti en parte integral de la Vida en La
Scala. Se la pasaba da y noche fotografiando los detalles ntimos del t rabajo detrs del escenario as como los espectculos en escena de
peras famosas. Piccagliani cre un archivo de 400.000 imgenes. cubriendo algunas de las producciones ms importantes.
2 /0
FOTOFEST
E N
EL
TEATRO
WORTHAM
Esta co leccin pertenece ahora a la Scala. Sin embargo, debido a necesidades de restauracin, la coleccin no est abierta al pblico. Esta
exhibicin, Sc%
D,vo, que fue organizada por la curadora independiente Silvana Turzio en Miln y Pars, es la primera y nica exhibicin
proveniente de esta coleccin. La presentacin en el Teatro Wortham, fue realizada por FotoFest en cooperacin con la Houston Grand
Opera y el H ouston International Festival, fue la primera vez que se muestra en los Estados Unidos. El patrocinador de la exhibicin fue
Bowne of H ouston.
W ENDY W ATRISS
C URADORA
ERIO PICCAGlIANI
2 /1
FOTOFEST
IN
GALVESTON
A Greek Portfolio
PHOTOGRAPHS BY CONSTANTINE
Pr~smud by
MANos
Galvi'ston Renaissal/u Foundarion in cooperation with FotoFl'Sf at Artists' Lofi & Gallay
hbruary 4-18. 1994
ONE DAY
WAS WALKING
toward the sea on the southern coast of Crete. As I walked. raising my head occasionally to the sea. I began to
discern an un usual black shape in the distance. As I came c1oser. I slowed my pace and moved more gently over the rocks. I felt that I w as
invading a vast and serene privacy. which would be shattered by my presence. I held my breath as I moved c10ser for fear of startl ing the mano
I stopped. only a few feet from the bent figure . I slowly raised my camera. focused. composed. and pressed the button. H e slowly raised his
head. looked at me calmly. and said "good morning."
Each photograph in th is portfolio is a personal experience and a particular moment in time. both for the photographer and for the subJect.
The people in these photographs live in small villages and isolated farmhouses scattered over the Greek countryside.They are mostly poor
people. but extremely proud and strongly defined as individuals. Most of the yo ung have leh to seek work in the cities of Greece and distant
lands. leaving behind a sparsely settled countryside of old people and children.
My passage through this countryside was leisurely and unplanned. that of a friendly observer. My presence was accepted w ith unquestlonmg
warmth and hospitality In time I came to learn that nothing is more sacred to the r ural Greek than phlloxenio. wh ich. literally translated. means
" friendship toward the stranger."
The resulting photographs should be viewed as one man's experiences in Greece. N o attempt has been made to define Greece or the
Greek people. for such attempts inevitably lead to generalities.
By his unique nature. each human being defies generalities. and no two people are the same.The individual is constantly changing in relation
to time. his environment. and other people. Selecting a split second in which to arrest thi s passage through time is the unique magic of the
camera.These small part icles of time have passed. Whatever truth and meaning they might possess are captured fo rever in these Images.
C ONSTANTlNE M ANOS
T h is ('x hibilion was o rg<1nized by Foto Fcst and Mardi G ras! Ca lvesto n.
2/2
FOTOFEST
GALVESTON
Las fotografas que resultaron, deben ser vistas como la experiencia de un hombre en Grecia, No trato de definir Grecia o a los griegos, ya
que tales intentos llevan inevitablemente a generalidades.
Por su naturaleza nica, cada ser humano desafa las generalidades, y no hay dos personas iguales. El individuo est constantemente
cambiando en relacin al tiempo, su medio ambiente y otra gente. Seleccionar una fraccin de segundo en la cual detener este pasaje a travs
del tiempo, es la nica magia de la cmara. Estos pequeos pedazos de t iempo han pasado. Cualquier verdad y significado que pudieran
poseer estn capturados para siempre en estas imgenes.
C ONSTANTI NE M ANOS
La nhibicin fut o,ganiuda por
F010FtSI
CONSTANTINE MANOS
213
FOTO F E S T
E DUC A TION
(LTP) program places more than 1000 cameras yearly. with film and processlng. In
classrooms throughout the Houston Independent School D istrict (HISD). LTP is based on the ground-breaking work of photographerlteacher
Wendy Ewald. who adapted her methods to Inner-city real ities in a FotoFest sponsored project at the Children's Museum in 1988. and on the
creative writing techniques developed by poet and FotoFest Education Director David Brown.
Students in grades four through seven are trained in photography and visual literacy basics and are then asked to take pictures of themselves.
their families. communities. and dreams. thus examining the structures and relationships important to them. Each assignment is discussed In class.
and photographs are critiqued prior to the students' writing an essay on each of the top ics. Literacy Through Photography gives the students an
opportunity to focus on subjects about which they are the experts and to make choices regarding the images they want to show and the s ones
they want to write.
A s a culminating evento photographs and the essay from one of the assignments are mounted on poster board and displayed on the
FotoFence in public and corporate spaces dunng the year and at FotoFest in the George R. Brown Convention Center dunng the month-Iong
international festival of photography. Student work is also published in perfect-bound anthologies that are distributed to students and school
libraries. Literacy through Photography sparks excitement in learning and pride in accomphshment.
Ewald and Brown have authored a teacher training manual that details the LTP process. and FotoFest has trained more than sixty classroom
teachers in using creative writing with photographs. The training also provides insights about the complexities and challenges of inner-city educatlon.
FotoFest's education director. David Brown. served on the advisory committee to H ISD's and City Councilperson Sheila Jackson Lee's Artist
in Residence at Middle Schools initiative. In the summer of 1993. Brown traveled to Minnesota to join educators from Harvard and Yale
Universit ies to found the Native American College Preparatory Center at Bemidji State University. FotoFest has also advised and/or supported
the Multi-Ethnic Cultural Arts summer programo Project B.R.l.D.G.E .. DiverseWorks' "Generation X" exhibition. the Creative Arts Center of
Corpus Christi. the Boys' and Girls' Clubs of Houston. the Neighborhood Centers' Summer Programoand the Orange Show summer youth
program and has provided cameras and film to student documentary projects in Clear Lake. Fort Bend. and Cypress Fairbanks ISDs.
In 1992. FotoFest received commendation from the HISD Board ofTrustees for Meritorious Servlce to the Community as well as recogn l Ion
from the City of Houston and the State ofTexas. The Literacy Through Photography program was selected in 1993 to represent HISD In
Governor Ann Richards's "Best ofTexas" in educational programming.
Initial support for the LTP project came from the Professional Imaging Division of Eastman Kodak. the Engelhard Foundation. and the Ettlnger
Foundation. Current support comes from the Houston Endowment. Inc.: the Education Foundation of America:The Kettering Family Foundatlon:
The Susan Vaughan Foundation. Inc.: the Scurlock Foundation: and the Wray Charitable Trust. as well as from American General Corporatlon:
The Gordon and Mary Cain Foundation: Charter Bank:The Favrot Fund: The Powell Foundation:The Samuels Foundation: Southwestern Bell
Telephone: Texaco Inc.: Ruby R. Vale Foundation: and the Vale-Asche Foundation.
EDU C A C ION
EN
FOTOFEST
de la fotografa da a los alumnos una oportunidad de enfocar temas en los que ellos son expertos y de tomar decisiones sobre las imgenes
que quieren mostrar y sobre las historias que quieren escribir.
Al culminar. las fotografas y los ensayos de una de las asignaciones son montados en papel cartulina y exhibidos en espacios pblicos y
privados en FotoFence cada semestre y en Fotofest, en el Centro de Convenciones George R. Brown durante el Fest ival Internacional de
Fotografa. Los trabajos de los estudiantes son tambin publicados en antologas perfectamente encuadernadas que son distribuidas a los
estudiantes y a las bibliotecas de las escuelas. Alfabetizacin a travs de la fotografa incita a aprender y enorgullece por lo logrado.
Ewald y Brown han creado un manual para el entrenamiento de los maestros que detalla el proceso de LTP, y FotoFest ha entrenado a ms
de sesenta maestros en el proceso de escritura creativa. El entrenamiento tambin provee discernimientos sobre los problemas y retos de la
educacin urbana.
El director de educacin de FotoFest David Brown fue miembro del comit consultivo de HISD y form parte del proyecto "Artistas en
Residencia en las Escuelas Secundarias", iniciado por la asamblesta de la ciudad, Sheila Jackson Lee. En el verano de 1993, Brow n viaj a
Minnesota para unirse con profesores de las Universidades de Harvard yYale para comenzar el Native American College Preparatory Center
en la Universidad Estatal Bemidji. FotoFest tambin ha aconsejado y/o apoyado el programa de verano Mult i-Ethnic Cultural Arts, el proyecto
B.R.l.D.G.E., la exhibicin en D iverse Works "Generation X", el Creative Arts Center de Corpus Christi, el Boys' and Girls' Club en Houston,
el Neighborhood Centers' Summer Program, el programa de verano para jvenes del Orange Show, y provey cmaras y pelculas a
diferentes proyectos documentales de estudiantes en los distritos independientes de escuelas de Clear Lake, Fort Bend y Cypress Fairbanks.
En 1992, FotoFest recibi elogios de la Junta Directiva del H ISD por Servicio Meritorio a la Comunidad, as como un reconocimiento de la
Ciudad de Houston y del Estado de Tejas. El programa de Alfabetizacin a travs de la fotografa fue seleccionado en 1993 para representar al
HISD en programas educacionales, en el "Best ofTexas" presentado por la Gobernadora Ann Richards.
El apoyo inicial para el proyecto LTP provino de Professional Imaging Division of Eastman Kodak, Engelhard Foundation y Ettinger Foundation. Actualmente es patrocinado por Houston Endowment Ine., Education Foundation of America,The Kettering Family Foundation,The
Susan Vaughan Foundation, Ine., Scurlock Foundation y Wray Charitable Tr ust, tambin por American General Corporation, The Gordon and
Mary Cain Foundation, Charter Bank, The Favrot Fund, The Powell Foundation, The Samuels Foundation, Southwestern Bell Telephone, Texaco
Ine., Ruby R. Vale Foundation y Vale-Asche Foundation.
Sprillg 1994
2 15
LI TE RA CY
THROUGH
PHOTOGRAPHY
turtles because they go by slowly. Some dreams are like cats running because they go by fast. The
dreams of my heart smell like flowers.The dreams like a turtle smell like a beach because they are
like sea turtles.The dreams like cats running smelllike a house because the dreams are like a cat in
a house. Some dreams are like the future because everything is modern and pretty.
So me dreams are not as big as a house, but some are.The colors in dreams are white or other
light colors. Some dreams are w ith bright colors. In some dreams, I fly in the sky. In other dreams I
have to crawl. Sometimes I try to scream but my voice doesn't come out. Another dream I have is
being a wonderful teacher and being number one.
My wishes are like my dreams because I wish to have a big house, and that is one of my dreams.
R EBE CCA C ANTU
4 TH GRADE , 1993 - 1994
C ARILLO ELE MEN TARY
R EBECCA C AN TU
4 Q GRADO, 1993 - 94
ESCUELA PRIMARIA C ARRILLO
2/6
REBE CC A CA N TU
2/7
ARTISTS
AND
CURATORS
BIOS
Pedro Abascal
Born 1960 in Havana. Cuba. HIS work has been shown In several
Her work has been lhe subect of solo exhlbltlons al The Ccnter for
photography.
Contemporary Arts of Santa Fe. the Center for lhe Fine Art s In
M,am,. and lhe Dalias Museum of Art. among o thers.
James Abbe
Born 1883 In Virginia. D,ed 1973 In San FrancISco. HIS fashlon and
Claudia Andujar
portra lt work has appeared In Vanlly Falf. Harper's Bazaar. The Ta(/er. Vu.
Born in Puer to Rico. His pho tography books inelude Mango M ambo
(1Ilustres Studios. San Juan. Puerto RIco. 1987). POr!rOllS o( lhe Puerto
Laura Aguilar
Currently reSides In Rosemead. California. AgUllar has recelved three
Tomie Arai
exhlbll lons inelude Bad GIf/S (The New Museum of Cont emporary
Art. New York. 1994) and Aperto 93: Emergency. pan of La Blennale di
Max Aguilera-Hellweg
Currently resides in New York Clty. where he works as a photojour-
Richard Avedon
nalist. His publications inelude Breakmg / OO. Am flcons Who Have Llved
Over a Century. Porlralls and /nterVlews (1983). "An Aztec Pn nce." short
by Alexey Brodovlch. He IS well known for hlS portl'alt and adver Ismg
photography. He has worked for bOlh Harper's Bazaar and ogue.
Mario Algaze
Born 1947 In Havana. Cuba. Currently resides In Coral Gables. Flonda.
David Bailey
London scene.
Fred Baldwin
Juan Carlos Alom
that was pubhshed In the book Commg lO Terms. The G rmen H,U
Denmark.
Born 1902 in MexlCo. Although sensuahty and dealh are malar themes
ItS
2/8
ARTIS
rs
ANO
CURATORS
BIOS
Neal Barr
Robert Buitrn
own work has been exhlblled In group and solo exhlblllons In lhe US,
Faberge.
Cecil Beaton
Sophie Calle
for ballet, opera and theater. Beaton recelved O scars for his costume
and se t design for "Gigi" and " M y Fair Lady." Hls work appeared in
Kun sthalle Vienna, lhe 1993 Whitney Blenniol, and lhe Tellun de Film
Festival.
Pablo Camb
D,ed 1993. Worked as an Art and Pho togr aphy Instruct or at Pima
Sta les, Europe, and Mexlco for hls work In lhe barnos.
dlsplayed In solo and group exhlbit ions In Puerto R,co, lhe Unlted
slales, MexlCo, and Europe.
Gilles Bensimon
Born 1944 In France . Currently hves In N ew York and Pans. He 15 the
creal lve force behind Elle magazine and has won numerous awards.
Charles Biasiny-Rivera
Keith Carter
Program (1992).
Blue, (1988), The Blue Mon, ( 1990), and MOlO, ( 1992). A fourth book
The H eaven o( Anlma/s 15 scheduled lo be released In the fall o f 1995.
Amy Blakemore
Born 1958 In Tulsa, Oklahoma. Currently leaches al lhe Glassell
Gaye Chan
photographers.
Erwin Blumenfeld
Henry Clarke
Bazaar. and Amen can, French, and British Vogue, among olhers.
Guy Bourdin
Clifford Coffin
shoes, and laler for Horper's Bozoor. ln 1976 he dld lhe "Slghs and
young aSSlslant. Arler returnlng to the United Sta tes, he was asslgned
a collector's Item.
2 19
ARTISTS
ANO
CURATORS
BIOS
Stephane Compoint
Mario Diaz
U.S.5.R.
Arturo Cuenca
Born In Holguin. Cuba. Currently lives and works In New York. Recent
Louise Dahl-Wolfe
Robert Doisneau
OppOSlllons In hls plctures of French street life. such as the con trasts
when they first appeared In the November 1933 ISsue of Vanl[Y Falo
between nature and machlnery. yout h and age. and laughter and
sorrow.
Arthur Elgort
Robert Dawson
Bal let In the late 1970s. H IS publicatlons Include Arrhur Elgorr's M od I's
Elliott Erwitt
Born 1928 in Pans. Erwitt captured Germany and France In the 1950s
Jack Dlano
Gavin Flint
1992).
Amen can Center. New Delhl and Tokyo and In group shows In
Roy Flukinger
London salon of the Linked Rlng ( 1903) and at Stleglltz's "291" Gallery
Harper's Bazaar.
Allan deSouza
In
Grea
Marlon Fuentes
NewYork.
220
ARTISTS
AND
CU RATOR S
BI OS
Sally Gall
Frank Gimpaya
Born 1956 In Washington. D.C. Currently lives and works in New York
Clty. Her work has appeared In the New Yo,k T,mes Sundoy Mogazme.
N ewYork).
Peter Goin
Fellowshlp. H IS video VIS-A-V,d. won the 1992 Premio Mesqulte for best
Carlos Garaicoa
Ricardo Gomez-Perez
museum In Germany.
Romualdo Garca
Catalina Govea
Nereida Garca-Ferraz
Ingo Gnther
Ellen Garvens
Masumi Hayashi
Hayashi's photos will be presented in the exhib ition, War Works, based
work has been catalogued In Amencoll Arr Today: New D,rectlons (/ 99/)
and FanwSles. Fab/es and Fabnco llons: PholO-works (rom the / 980s.
among others.
Jane Hinton
Ormond Gigli
Born In New York Clty In 1925. H e was a N avy pho tographer dunng
WWI /. He began hlS career In fashlon covenng the Pans coll ectlons for
LI(e In 1952 and later speclalized In celebnty and fashlon for L,(e. T,me.
and The Saturday Evenmg Post.
22 /
In
exhlbltlon s In the
ARTISTS
AND
CURATORS
Hiro
BIOS
Art Kane.
of Graphic Arts Design Lab. H,,-o worked for H arper's Bazaar from
1965 to 1975.
Andr Kertsz
Nguyen Tan Hoang
Currently lives
In
IS
Hyung Su Kim
fashlon photographs to Vogue ond Vam'Y Fa". and dld fashlon work for
sponsored by the Queens Museum of Art. New York. and has been
exh,b,ted at the Kumho Museum of Art. Seoul. Korea. and the Santa
Horst P. Horst
In
William Klein
Born In New York. 1928. Currently IIves In Pans. Kleln worked on
abstrae! murals wlth Fernand Lger for French and Itallan archl ects.
Fashlon. and SOClery as seen lhrough FlVe Decodes 1930- 1980 (1983).
George Hoyningen-Huene
Antonin Kratochvil
and Mexico.
Include the InfiMy Award. ICR journallst of the Year ( 199 1). Art
D,rector's Club. 70th Annual Exhlbltlon. and the Internatlonal Center
Dorothy Imagire
Born 1894 In France. Lartlgue recelved hlS first camera at age five
fram his father and produced a major body o f work between the ages
o f seven and twelve. Lartigue's pho l ography did nol receive public
atlenl ion unlll lhe mld- 1960s. His adull career focused on palnllng.
Ricardo Jimenez
Born and reSides In Caracas. Venezuela. Educated at the Bournemouth
Bruce Laurance
and Poole College of Art and DeSlgn. he has exhlblted hls works in
Guillermo Kahlo
Born 1872
In
An-My U
Kahlo opened his first studlo In 1901 In Mexlco Clty. Though pnmanly
Born In Vlelnam. currently reSides In New York Clly. For many years Le
222
ARTISTS
AND
CURATORS
BIOS
Dinh Le
Constantine Manos
Steve Lehman
hls exclusive coverage of polrtical unrest In Tibet and the 1988 military
Press Photos Awards. His photos have appeared in Times. German Geo.
and the Sunday London Times magazine.
Kurt Markus
David Liittschwager
the mid- 1980s. He has worked for Esquire. M irabel/a. and The New York
Times Magazine.
M agazine .
Mara Martnez-Caas
Peter Lindbergh
Caas has had numerous solo exhibitions in the United States. France.
and Puerto RIco. and her work has been included in many group
Silvia Lizama
Wayne Maser
great demand as a video director with Mariah Carey. Lisa Fisher. John
Carlos Mayol
Annie Lpez
Born and resides in Phoenlx. Anzona. Lpez
a longtlme member of
MARS (Movim iento Artistico Del Rio Salado) Artspace in Phoenix and
works. He has won a variety of awards for his work and has been
Martina Lpez
Currently resides in Chicago. IIlinois where she is Assistant Professor
Humberto Mayol
Frances McLaughlin-GiII
Martha Madigan
Born and reSides in New York City. After winning the Vogue "Prix
de Paris" contes!. she joined the staff of the Cond Nast magazines
223
ARTISTS
AND
CURATORS
Luis Medina
BIOS
Susan Middleton
Born 1942 In Cuba. O,ed 1985. Medlna recelved hlS educatlon at the
magaZlnes worldwlde.
Harry Meerson
Nstor Milln
Flgaro. Plalslr de France. Elle. Jardm des Modes. and Harper's Bazaar.
RIco. Recent exhlbltlons Inelude New Faces o( Puerro Rlcan Arr (Pe er
Steven Meisel
Puerto RIco. 1994) and PJane! Earrh Day Exh,b,!,on (Fnedman Gallery.
From Queens. New York. Meisel began wi th Cond N ast in 1992 and
has done advertiSlng work for the Gap and Oolce & Gabbana. among
others. He has photographed supermodels and personalltles such as
Madonna. Ineluding her album "Llke a Vu-gln" (1985) and her recent
Frank X. Mendez
Born In New York Clty. Now IIves In Bayamon. Puerto RIco. where he
works as a freelance graphlc deslgner. Hls work has appeared In one-
Ryuji Miyamoto
Hctor Mndez-Caratini
Museum of Fine Arts. Houston. They also appear In Kau Lung Shal
Currently resides in San Juan. Puerto Rico. Mndez-Caratini is a
recl plent o f the Casa de las Amncas Award in photography (Cuba.
Genaro Molina
Ana Mendieta
Delilah Montoya
Born 1955 In Fort W orth. Texas. Currently IIves In Albuqu rque. New
California.
Sarah Moon
Tony Mendoza
teaches at the Internatlonal Center for Pho tography In New York C,ty.
Abelardo Morell
Sheila Metzner
Fellowshlp In 1994.
224
ART I STS
AND
CURATORS
B I OS
Martin Munkacsi
Barbara Norfleet
of Alexey Brodovitch.
Eduardo Muoz
in 1984, and the Aaron 5iskind Award (1 991 ). Her most recent
Born 1964 in Havana, Cuba. Muoz has been displaying his wor k in
(1993).
Ron O'Oonnell
Gerard Musy
Patrick Nagatani
Norman Parkinson
Stanford University at Palo A lto and at the Hearst Center for the Arts,
Harper's Bazaar and many of Vogue 's foreign editions. as well as Li{e.
Irving Penn
Helmut Newton
in Vogue.
Born 1920 in Berlin. Currently lives in France. N ewton shoots fash ion
for French Vogue and American Vogue . He has worked for Nova, Elle.
Ren Pea
Born 1957 in Havana. Cuba. Pea is a freelance photographer
whose work was part of the exhibit ions Crnicas de la Ciudad at the
Jos Ney
work has been exhibited in collective and solo exhibitions around the
and Venezuela,
Born 1959 in Havana. Cuba. Prez has been showing her work since
Anne Noggle
1984 in several group exhibits and three personal exhibits. Out side of
Paul Pfeiffer
the books For God. Country and the Thrill o{ It Women Air{orce Service
P,lots
In
(1983) .
recipient of a Fulbright Grant this year. Pfe iffer was also awarded a
Travel Pilot Grant. co-sponsored by the N EA and Arts International in
1993 to travel to the Philippines.
225
ARTISTS
AND
CURATORS
BIOS
Sophie Rivera
Pham has taught photography at Cahfornla Instltute for the Art s and
na tlonally
15
15
Induded
In
vanous
Bertha Gl Rodrguez
Erio Piccagliani
Rigoberto Romero
Denis Piel
Born 1940. Pinar del Rlo. Cuba. O,ed 199 1. HIS wOl'k IS pan o f
York. His work has appeared in Vogue. and Vanl!y Fa". He has
Jos Man Natlonal Llbrary In H avana and lhe N atl onal Unlon o f
Manuel Pia
Robert Samen
director for the magazine PropOSICIones. Hls work was dlsplayed In the
Rafael Ramrez
Juan Snchez
freelanee pho tographer. His work has been published in Nuevo Luz
Sandra Reus
Marcos Santilli
Born 1951 In Sao Paulo. BraZl/. A foundlng member and first Vice,
Charles Reutlinger
N ewYork.
studlo. " Maison Reut linger:' whieh operated through the 1930s.
worked extensively for sueh publleatlons as Les M odes and The Ladles'
Alfredo Sarabia
Born 1951 Havana. Cuba. O,ed 1992. Between 1976 and 1991.
Fleld.
In
Bob Richardson
las Amencas.
David Seidner
Herb Ritts
226
ARTISTS
ANO
CURATORS
BIOS
Stephen Shames
Andre Tracey
Hiromi Tsuchida
Toshio Shibata
exhibilions in Japan, and his work has al so had solo displays in Chicago
Deborah Turbeville
Victor Skrebneski
She was fashion editor for Modemoiselle and took photographs for
Ritsko Uchida
of photography.
Edward Steichen
the A rts.
Ricardo Valverde
Bert Stern
Kathy Vargas
Carolyn Sumners
Victor Vzquez
DianeTani
best art book of t he year in 199 I by the International Art Crit ics of
Puerto Rico,
free lance photographer. His book The Reo/m o(Woiting was named
Ricardo Viera
Foundation in 199 1.
227
ARTISTS
ANO
CURATORS
BIOS
KoYamada
1968. and worked for such magazlnes as Harpers Bazaar. lrallan Vogue.
Wendy Watriss
Jin -meYoon
and the USoShe co -authored Commg ro Terms. The German HIII Country
o(Texas ( 1991 ). Her work has been published In LI(e. Slern (Germany).
Weber is known fo r his fashlon work for Ralph Lauren. Calvln Kleln.
Karl Lagerfeld. Gianni Versace. Banana Republic. Pepe jeans. and many
Instltutlon. 1994). and Free Falllng (Berlin Shafir Gallery. New York
tary on Chet Baker. " Let's Get Lost,' lhal was nomlnaled for an O scar.
Cl ty. 1994).
BrianWeil
Born 1954 in Chicago. IIIlnOls. Currenlly lives In New York City. H ls
work has been displayed
David H. Wells
Lives in Layton. N ew jersey. A freel ance documentary pholographer
and photojournalist. recent solo exhiblllons of hls work Include lhe
lraveling exhibition D,sran Relallons: The Relallonshlp Be!Ween Arabs
and jews . Wells has won numerous awards mcludlng lhe MacArthur
Foundation Fellowshlp for Research and Wnllng on Intenallonal Peace
and Cooperation ( 1991).
DaveWilson
Born 1946 in Tuscon. Arizona. Wil son currenlly lives In H oust o n.Texas
and works as a Technical Specialisl for ABB Vel co Gray. His work has
appeared al Houslon Cen tel" for Photography Annual Member s
Exhibits ( 1990. 199 l. 1992) and Windows of Houston ( 1992).
GeoffWinningham
Born 1943 in jackson.Tennessee. Currenlly teaches al Rice Unlver slty
228
ACK N OWLEDGEMENTS
FotoFest gratefully acknowledges the generous support and assistance from our Sponsors, Contributors, Supporters,
Volunteers, and all the participating community and educational organizations, galleries, museums, art spaces, and
institutions.
FotoFest reconoce con agradecimiento la generosa ayuda y asistencia de nuestros patrocinadores, contribuyentes,
voluntarios y todos las organizaciones sociales y educativas, galeras, museos, espacios artsticos e instituciones que
han participado.
GENERAL FESTIVAL
SPONSORS
AMERICAN VOleES:
LATINO PHOTOGRAPHY
INTHE U.S.
THE GLOBAL
ENVIRONMENT
SPONSORS
Canon USA
SPONSORS
Nikon Inc.
O lympus Corporation
AT&T
Color Place
Fox Photo
Menil Propertles
J. A
IN-KIND
CONTRIBUTORS
Welngarten Realty
Pennebaker DeSlgn
David Berman Films. Inc.
Foundation
Humanities
Quantum Consultants
Sotheby's
Houston Downtown
Management Carpo
IN-KIND
CONTRIBUTORS
IN-KIND
CONTRIBUTORS
The N ational Geographic Society
N ASA
Ar te Publico Press
A nheuser Busch Inc.
The Houston Hispanic Forum
European Photography
Fnends of Photography
En Foco Inc.
Mexican American Studies
ProgramoUnlversity of
Houston
O iga Soliz
Meadows Museum
Photo Metro
SOClety of Photographic
Educators
Texas Folklife Resource Cen ter
Quanah Productions
VTTY
Archimage
Bellaire Nature Discovery Center
Chroma Copy
Citlzens Environmental Coalrtlon
Houston Arboretum and Nature
Center
Houston Audubon Society
Houston Zoo
Center
Boulevard BlStro
Brown and Root
Continental Alrllnes
229
ACKNOWLEDGEMENTS
INDIVIDUAL
CONTRIBUTORS
THE GLOBAL
ENVIRONMENT
SYMPOSIUM SPEAKERS
LlTERACYTHROUGH
PHOTOGRAPHY
SPONSORS
SPONSORS
Claudia Andular
Conwell
Stewart Cureton
Anne S. Fan sh
Mary Harley
Mr. and Mrs. A. L. Jensen
Emilie Kilgore
Scooter Cheatam
Peter GOln
M argol Leonard
Ingo Gnther
IN-KIND
CONTRIBUTORS
Adnenne R. Bond
David and Liz Branch
Robert Dawson
Amerlca
FOTOFEST
EXHIBITIONS 1992-1994
B.J. Dush
Glen A. Rosenbaum
Peter Emerson
W llllam F. Stem
Ted Eubanks
Foundal lon
Harris M asterson
Jane B. Owen
John Koros
Jerri Poli
Ray Miller
Patl, Roberson
Regina J. Rogers
Marcos Santilll
Charter B.lnk
Inc.
Jew1sh Communlty of
Houst o n
M. W . Kellogg Company
Kevl n Shanley
Mlchael A. Chmlel
C. Cabann Smlth
Ted Shaplro
LaVerne Wllllams
Bowne.lnc.
Th e Scurlock Foundatlon
"ACROSS CULTURES"
SYMPOSIUM SPEAKERS
Adl
Charles Biasiny-Rivera
FASH/ON: EVOLUT/ON I
REVOLUT/ON
IN - KIND
CONTRIBUTORS
Texaco Inc.
Texas CommlsSl0n on the Arts
Brazos Bookslore
tUi
Hou ston
Robert Buitrn
Framewor k Inc.
Jack Dlano
LTP INDIVIDUAL
CONTRIBUTORS
Ibsen Espada
Fernanda Matos
Carillo Gil
Martina Lopez
M . Penner
Mala Martnez-Caas
Jane B. Owen
Mlke Stude
Tony Mendoza
Wallace Wllson
Menil Collectlon
Celia Muoz
Silvia Pandolfi
Juan Snchez
Kathy Vargas
Ricardo Viera
D r. Tomas Ybarra- Frausto
23 0
T,-eebeard's Restaurant
M tCkeyand Mlke M arvlns
ACKNOWLEDGEMENTS
Janna Fulbnght
Barbara Norlleet
Sally Gall
Sandro Oramas
W arren Padula
FOTOFEST ART
ADVISORY BOARD
SPONSORS
Flor Garduo
Fred Baldwln
Nelson Garrido
Martha Peters
M lchelle Bames
Osear Pintor
Suzanne Bloom
Helmul Gemshelm
Eduardo Gil
W Olclech Prazmowskl
Geary Broadnax
Mlchael Putnam
Peter Brown
James Radke
Richard D, RemblSz
Jean Cashn
Fernando Castro
IN - KIND
CONTRIBUTORS
Auctloneer. Denlse Bethel
Vice PreSldent of Sotheby's, Inc.
Servlce Amenca
Auctlon Photography (or
Ca talogue
Eduardo Gonzalez
LoUl s Gonzalez Palma
Emestlne Ruben
Lynn Herbert
Sharon Green
Debra Ru b
Ed HIII
D avid H amllton
Llnn Sage
D bor ah Hammond
David Jacobs
George Krause
Phylhs Hand
Pete Sandschaper
AnneTucker
JIII H artley
Marcos Santllh
Wendy Watnss
Chico Seay
PallyWood
D bra H elmerdlnger
Chnt W ,lIour
Paul Hester
Stephen Shames
Ablgall Heyman
Heldl L. Sherman
BIII Hlrst
M,
David Hlynsky
duardo Muoz
VlSlon Gallery
Maureen Shlmlock)
INTERNATIONAL
ADVISORY BOARD
SlmqU Afterlmage
Photography
James A linder
E,koh H osoe
Plerre Apraxlne
Chnt Imboden
Len Speler
David Balsells
Barbara Alper
Graclela Iturb,de
Hans Staartles
Nancy Barren
A lexander A postal
Wendy W atnss
J, P. Allerberry
Barbara Jaffe
Grete Stem
Pavel Banka
R,ca,'do jlmenez
Lynn Stem
Plerre Bonhomme
Alan Bean
BIII Jorden
Roger Stone
Fran Beaufrand
Douglas B, Kahn
D avid St nck
Henry Bnmmer
John Klppln
Debra Sugerman
Phllip Brookman
Gay Block
George Krause
Ru tger t n Broeke
Alejand ro Castellanos
Almce Boll
Gwenn Thomas
Jose( Breltenbach
Alex Labry
LUlSella D 'Ales",ndro
Phlllp Lamb
Shomel Tomatsu
W illem de Looper
Cay long
Juan Travnlk
Mano D iaz
Manlyn Brldges
Paul La towsky
Linda Troeller
Harald-M Lehnardt
HenryTroup
Manon L. Brown
Bert L. Long
ThomasTuhs
Peter Brown
David Maawad
Jerry Uelsmann
James L. Enyeart
U te Esloldsen
Dan Burkholder
Jay MalSel
der Elsken
Jean D leuzalde
Sara FaClo
Anna Farova
Jo Ann Calhs
Marga!!t Mannor
KathyVargas
Jan Camp
Constantlne Manos
Casslo Vasconcellos
Roy Flukinger
SCOll C. Campbell
JlmVecchl
Hill)
Kelth Carter
Charles-Henn Favrod
TerryVlne
Blrgitta Forsell
F mando Castro
Richard Margohs
LUClen Clerque
JIII MathlS
Mark Cohen
Ralph G,bson
Jan C. W anen
Carlos Mayol
DavldWells
Tammy Cromer-Campbell
Humberto Mayol
David A W llson
Rune Hassner
Alicia O 'Amlco
Anamana McCarthy
W allace W llson
E,koh Hosoe
Rltva Keskl -Komonen
Mano Cravo
eo
Pamela DeMarns
Mlchael McLoughhn
GeoffW lnnlngham
y lorgos Depollas
W endy Ewald
Larry Flnk
Jlm Moore
(duardo Muoz
HeldlWragc
Frdnc Mar",1
Robert Flynt
BllIWnght
Pedro Meyer
Joan Fontcuberta
Ikko N arahara
KoYamada
D iana Mines
Fernell Franco
Flo ns Nesss
Daniel Nlerman
Frank Yamrus
D r. Reinhold MlSselbeck
D ouglas Frank
Mus W hlte
23 /
Robert L. Klrschenbaum
Jean-Claude Lemagny
ACKNQWLEDG E MENTS
Jean-Luc Monterosso
Stavros Moressopulos
HISPANIC ADVISORY
COMMITTEE
MEETING PLACE
REVIEWERS
LlZabeth Johnson
Kathleen Kenyon
Paul ArClZO
Ten Agullar
Ohvla Lahs-Gonzalez
Mlchael Koetzle
Andreas Muller-Pohle
Prof. Flons M. Neususs
Pal -N ils N llsson
Daniel Bustamante
Mark Antman
Cay Lang
Arthur Ollman
D on BaClgalupl
David LaOalre
Dewl Lewls
Cohn O sman
Edgardo Colon
Fred Baldwln
Bob Persky
Tom Bamberger
Emestlne Ruben
Sarah Bayllss
Shlrley Mad,ll
Penttl Sammallahti
Gloria Delgado
Steven McKlansky
Mami Sandwelss
Ben DeSoto
W llham Messer
Joel Savary
Ibsen Espada
Victoria Blaseo
Thomas Solley
Sucanne Bloom
M lke Marvlns
Sara Stevenson
Cyndy Garza
Sylvla Bors
Susan Morgan
Flnn Throne
Pedro Vasquez
Helen Grace
Chantelle N oel
Bas Vroege
Cohn W esterbeck
Lisa Hemandez
Benito Huerta
Jo Bren zo
Henry Bnmmer
Peter Brown
W llllam O'Cannar
Stephen Whlte
Jean Caslln
EyalOnne
PaulWombell
Yolanda Londono
Eduardo Castanho
Amy Pastan
Beni Maldonado
Fernando Castro
Harry Pennlngs
Roxann Martlnez
Dr. Tatcho M,nd,ola
Mare Celia
Steven Perloff
M ontca ClpnlC
Jlm
Rebecca Munoz-Dlaz
John Oeary
Preston
Barry S. Ramer
Thomas Colhns
Chnstopher R.auschenberg
Blanca O'Leary
Terry Conrad
Carolyn RlChards
Macano Ramlrez
Jane Corkln
Ygnaclo Rlvero-Bulnes
Ben DeSo to
Mel Rosenthal
Richard Reyes
Alaln D 'Hooghe
Carlos Rios
Monica Sandoval
DICk Doughty
Karen D 'S,lva
Janct Russek
Mlchael Sand
Ellen Dugan
Martha Schnelder
Gluhana SClm
David Schelnbaum
Oiga 50hz
Edward Earle
Ahce Valdez
Cathenne Edelman
M. K, Slmqu
Celeste Zamora
Glenn Edwards
Terry Etherton
Joe Smoke
Thomas Southall
Deborah Ely
D. J. Stout
Guy Swanson
Ehzabeth Ferrer
BoazTal
Burt Flnger
Barbara Tannenbaum
232
MlSsy Flnger
Flnn Thrane
Jay M, FlSher
Chns T Itlenngton
Roy Flukonger
Kcrry Tremaln
Mananne Fulton
Mana Teresa GarCla Pedroche
AnneTucker
Ellen U shloka
Kathy Vargas
Helmut Gernshelm
Georges Vereheval
Antho ny Georgleff
Ricardo Viera
Eduardo Gil
Ollver Goldesberry
BasVroege
Blll W ade
Jerald R. Green
W endy W atnss
Monte Greenshlelds
Adam W elnberg
Peter Halpert
ValWllhams
Mlchael Harns
Deborah W llhs
Carrol Hartwell
Chnt W lllour
Barbara Hltchcock
Glenn W illumson
Amy H oworth
W allace W llson
W M, Hunt
Kathleen James
Knstln Worthe
Brooks Johnson
Chris Johnson
Janc Yoemans
Devena Zarbano
ACKNOWLEDGE MENT S
AMERICAN VOICES
CURRICULUM
ADVISORY COMMITTEE
Ana Artlgas
Jean Barber
Dennls Black
INSTALLATION OF
EXHIBITIONS
MATTlNG/FRAMINGI
INSTALLATION
DESIGNER/BUILDER
Janice Broussard
Jim Kanan
Ned Bellamy
Jean Barber
CONSTRUCTlON
CREW
Tony Aukstakalnis
Lupita Guerrero
Jesse Jones
James Mize
Dc Marv Hoffman
TOURSOF
EXHIBITIONS
DOCENT COMMITTEE
Fulton Davenport
Janet Caldwell
Lorenzo Cano
Rhonda Enck
Matilda Cochran
Sally Godoy
Keith Hollingsworth
GeoffHaddad
Gregg Mankiller
Howard Hilliard
Barbara Elmore
David Martell
Leslie Johnson
Ernie Ortiz
Joe Rlggs
Lawrence Swearingen
Joey Mclnnis
Van Johnson
George Neikov
Dc Linda Knight
Rene Saldivar
LIGHTING
N athan Oatley
Dc Rory O'Neill
Phil Davis
Marta Snchez
Debbie Valdez
Signe Segrest
Shadow Productions
Sheila Pree
George Sacaris
DOCENTS 1994
FOTOFEST
TracyeWear
INSTALLATION OF
PHOTOGRAPHS
Dlane Spiller
Manuel Aguilar
Joe Barron
Donise Whited
Melba Alfred
Dan Havel
Clint Willour
CyndyAllard
Bill Kelly
CaithnWood
Traci Allen
Richard Ruppel
Karen Standard
5uzanne Sutherland
AMERICAN VOICES
CURRICULUM
LAYOUTI
PRODUCTION
MonlCa Shaughnessy
THE GLOBAL
ENVIRONMENT
CURRICULUM
Mary Stark-Love
GLOBAL ENVIRONMENT
SUPPORTERS
Linda Brannen
Fred Colhns
Becky Klghthnger
DonnyAllen
BIII Shimkus
INSTALLATlON
VOLUNTEERS
Yolanda Anderson
Paul Wadkins
Rob Britton
Erika Arrendonda
MattWhite
Cheryl Chemin
Eddie Awadh
Mark Larsen
GRAPHICS
Anna Flsher
David Gresham
Jean Harns
Sally Luce
Jeff Shultz
Mary Stark-Love
Maria Baarlear
Paul Clark
Joe Beasley
Miguel A. Becerra
Kim Copeland
MlkeTucker
Tim Curtis
Alex Botas
Elena F. Wortham
Edward Davis
William G. Bowen
Tina Dullinger
Brandie Broussard
Alisson Boyles
Justin Griswold
Kimberly Brown
Boyles Design
Trang Hoang
Eric Busch
Craig Minor
Clara Lara
Lorenzo Cano
Minar Deslgn
Eddle McCreary
Quetzil Castaeda
Jason McLemose
George Cavazos
AUCTION
CATALOGUE DESIGN
& PRODUCTION
Rita Milis
Cheryl Chernin
Tiffany Morgan
Taylor Cole
Jeannle Palmon
Kim Copeland
Carrie Ramsay
Catherine Coronado
Verna Rodriguez
Michael G. Curry
Kelly Levitt
Martha Skow
Orville C lark
Antonio Manega
Jolene Cornelius
George Farenthold
Mary Almendarez
PHOTOGRAPHY
Gary S.pone
Angel Delgado
Paul Hester
Eric Siaotong
A raceli Delgado
George N eikov
TomVan Dyke
Raquel Duron
PattyWood
KateWarren
Van Edwards
FOTOFENCE
INSTALLATION
Ibsen Espada
Su san A. Evans
Howard H illlard
Randy Twaddle
Julie Fisher
AmyTagg
Doug Wilhams
TomWlcks
Marta Foster
Rebekah FredHolm
Edgar Freire
Gabriel Gallegos
Gabby Garcia
Judge Syliva Garcia
Greg Garner
Eloy Garza
233
ACKN O W L ED GE MENTS
Danny Gonzalez
Rana Shanaa
PatriCIa Gonzalez
Ph,l Solos
Magg'e Gonzalez
T,ppy Sprat
Norma Guerrero
La Tresa Stroud
COMMITTEE LlST
Susan Blelsteln
Alrredo Guzman
John Tarver
John Blackmon
Robert Walsh
Pete!" Han
Jason Hanlon
Jack,cWao
Aurora Hernandez
Cilia Teresa
Tres Thomas
Rosemary Hughes
D o nlSe Wh,ted
Aurora Herrera
Hao Tran
Margot Leonard
Trent Wh.tenbach
Benito Huerta
Orpha Valdez
Gregg Mank,lIer
M anonWllcox
Irene T.eh
Peggy Hill
Marisela R. Vallie
Jack C. Mankiller
Eva Wolski
Soph'a H,nga
John E. Parkerson
Elena W o rtham
L,berty Hom
Esperanza Vredembrug
John Roberson
Todd Ya tes
Chaka Jackson
HoangVu
Martha Skow
B,lI Yo ung
Oiga J,menez
KateWarren
Burdine Johnson
Masika Williams
Karen Ke,th
Jacqueline S. Wythe
Wendy K,nca,d
Cynth,a A. Zepeda
MEETING PLACE
VOLUNTEERS
Eleanor A sbury
Clara Lara
Karen Barfield
Joann Lee
Jen,rer B,nder
Floralyn Libunao
Liz Branch
Jaime Limon
L,lloe Ann Lopez
Al ice Calvery
Cath Con Io n
Claud,a Madrogal
Cheryll Co o ley
Roxanne Martinez
Carolyn Culllnen
Kevin M assey
Joann Devivo
Madge Donaldson
Jennirer Mata
Mlreya Medrana
Marguente Dunn
Mana Meslas
Bnan Flnke
Tim Mock
Helen Gardner
Gaye Gilbert
Leslie M onterroso
Jay Hamberger
Alexandra Montgomery
Donna Handy
Juan,ta Morales
Carola Hernn
Claud'a Morales
Howard Hlllard
Frederock Moses
Troy Huechkter
Melissa N eely
Cathy Maloney
Anna Nuez
Jack C. Mank,lIer
David Olvera
MlCkey Marvlns
Cassandra Ordonez
VlCk, Mered,th
Carmen Orta
Betty Mooney
Cindy Ortega
Jake Mooney
Helen Otegbola
Emle OrtlZ
Rupesh Patel
Brad Pesson
Juan F. Perez
Mike Pollard
Sheila Pree
Gloria Ramlrez
Mary Rogers
Karen Rawltcher
Amy R,ha
Harry Sharp
Clance Slmpson
Elizabeth Robbins
Martha Skow
Lisette Rocha
Amy Spangler
Deanna RoClo
James Stevenson
Joann Stone
Hugo Rodroguez
Martha Thomas
Flona Saunders
Sue Schm,tz
Martha Skow
Boyd Scypion
234
ACKNOWLEDGEME N TS
BRIAN WEIL:THE Al OS
PHOTOGRAPHS
HIV/AIDS EOUCATlON
AAMA (Association for the
LlTERACY THROUGH
PHOTOGRAPHY (LTP)
Advancement of Mexican
IN-KINO SUPPORT
The Milby Wnting Project
TomAnthony
Americans)
Leo Gallegos
Dr. Yvonne Gonzalez
Dizinger Foundation
Geri Briggs
Rose Hicks
Lisa Conwell
Margeret Kilgo
Dizinger Foundation
Amy Dolph
Suzanne Sutherland
N ancy Ford
H arris County Medical Society
LTP CLASSROOM
ASSISTANTS
Michael Hooley
Eleanor Asbury
Liz Branch
Henry Gasper
HIV/AIOS
CURRICULUM
Fredericka Hunter
VISITING ARTlSTS/LTP
Jean Barber
Bob Lee
Annet1e Lawrence
Jane Eixmann
Tom Letchford
Craig Minar
Kate HUSlon
Richard Lucher
GregValdez
Jennifer Pagani
Anne Rooney
Jean Pirtle
Dawn Sullivan
GENERALVOLUNTEERS
Mackenzie Adams
Tara Afrakhteh
Donny A llen
Juan Carlos Alom
Blanton Alspaugh
Linda Sue Alsup
Nasser AI-Tell
Al ice A lvear
Eleanor Asbury
Glen Baird
Gary Bankhead
Cheryl Barbeau
Jean Barber
Keith Bauman
Jimmy Beeman
JeffBerlat
Joan Bishop
Susan Bishop
Arthur Blemimeyer
Janet Bond
Tony Bonnett
Virginia Bouldin
William Bowen
PWA Coalition
VOLUNTEER ANO
FOTOFENCE PARTIES
Teresa Recio
Janet Caldwell
Phyllis Segal
Ingrid Saenger
Roann Stern
SALUTE
Nassie Santiago
Jay Slemmer
Tina Summerlin
Wendy Ewald.
Cilia Teresa
Carol Turpeau
Liz Branch
Nicole Turpeau
Lore Feldman
Lynne Tyer
Marv HofTman
VisualAIDS
Marie Seanlon
Debra Willingham
Suzanne Sutherland
BettyWeir
Liz Branch
Claudette Brandon
Lee Lee Brazil
Rob Britton
Carolyn Breathed
Geary Broadnax
Janice Broussard
Anne Brown
Peter Brown
Fred Bunch
Jim Caldwell
Alice Calverly
Mike Campassi
Jan Cam pbell
Ronn Canon
Diana Carney
Marcia Car ter
Fernando Castro
Shannon Chamberlain
Cheryl Chemin
Meagan Clark
Orvelle Clark
Paul Clark
Carey Clay
Cathy Concannon
Carolyn Coody
Cheryl Cooley
Kim Copelin
Douglass Cortese
Patsy Cravens
Dave Crossley
Gary Crum
Carolyn Cullinan
Patsy Curley
Tom Curley
235
ACKNOWLEDGEMENTS
Ron Sykora
Tim Curtis
Mike Hulbert
Mehssa N eely
Fulton Davenport
A stnd JernlCk
Ken N elson
Ben Thach
Edward Da",s
Betty Jones
George Neykov
All ce Thomas
Jean D avlS
Brand on Jones
Carol Joseph
N athan O atley
Ernle 0 ,-tI2
Ernestine Dawson
Jeff D eBevec
Sonya Jo seph
Judith OrtlZ
Bob Thomason
M artha Thomas
Ben DeSoto
Billie Jouett
Su san O sterberg
Bett y T,ch,ch
Joann
Tara Kebodeaux
Mlchele O swald
lreneTleh
Madge Donaldson
Ceci Kempner
Jeannle Palmon
Ba,1>ara Torres
Joel D raut
Jlm Kempner
M anlyn Paperman
Mlckey Tralner
Kayron Dube
Satshabad Khalsa
Sanat Pankh
Linda Trevlno
Ti na Dulllnger
James Kleley
Pampa Tronl
M arguente Dunn
Anne W . Tucker
Lisa Emmet
Loulse Kmkade
W endy Klnkald
Becky Phllhps
Blythe Tucker
Peter Emmet
Julie Kl ibert
Bob Pike
Jackie Pon tello
Lauren Tu cker
Mlke Tucker
D tVIVO
Rhonda Enck
Jim Knester
Jlm Estes
Tony Koby
Polly PoullS
Ed Turny
John Everett
George Krau s
Shella Pree
Randy Twaddle
George Farenthold
Paul Kuntz
Juhe Putz
TomVanDyke
Romella Favrot
Inge Lairey
Emlly Pyle
Emmo tt Vauter
Melba Fernandez
Marnle Lamberl
Jerry Finger
Denlse Lancaster
Carne Ramsay
MegVenker
IhsVener
Brian Finke
Clara Lara
Allce Rowlands
Judl Vroulls
Anna Fl sher
M iguel Ledezma
M ano Reyna
Robln Wagner
Ethel FlSher
Virginia Richa,-ds
Kate Warren
Jam es Forem an
Sandra Lewls
Maylta Gonzalez-Ltma
Debble Rlddle
JoelWells
Jay Forest
Lllhan Long
Linda R,ddle
DOnlse Whlte d
Pam Franos
Linda Lorelle
Chns Rlncon
M anonW.lcox
SIII Frazler
Sally Luce
Carlos Rlos
Kay Freedson
Elizabeth McBride
Pedro Rivarola
Kim Garcia
Eddie McCreary
ChntWlllour
H elen Gardner
Georgla M clnnls
Verna Rodn qu ez
Jason Wllson
Wendy Wllson
A aron Geller
Gregg Mclnnls
Karen Rubey
Gaye G,lbert
Joey MclnnlS
Polly Ruhlman
GeoffWlnmngham
Sally Godoy
Jason McLemore
RIChard Ruppel
PaulaWlr th
Travls Wlse
Bhavna Gohel
H olly Maflitt
George Sacans
Angeles Gmez
Gregg Mankiller
C hris Salvo
Trent Wlttenbach
Amy Gonzales
M ike Marvlns
Margaret Schrader
Patty W ood
Stella Graham
M lCkey Marvlns
D onna Scruggs
ToddYa tes
D iane Greenhill
C harles M asterson
Boyd Scyplon
B,IIYoung
Harris Greenwood
Fernanda M atos
Cmdy Seaboch
Letnce Youngblood
Armando M edlna
Phylhs Segal
Dorothy Zbos
D aVid Gresham
Patty Melton
Jane Shaplro
Justm Griswold
Andrea Meltzer
Harry Sharp
H adra Guyden
Matthew Mendez
Eric Siaotong
Jay H amberger
Vicki Meredith
Clarice Simpson
Artene H ammersley
Gary M essersmlth
Alhson Sklnner
Phylhs Hand
M ana M est as
Martha Skow
Betty Hardlng
Rita M,lis
Tammy Smlthers
C ralg Hartley
Ph,l Mo ntgomery
Amy Spangler
MlChele Haus
M artin M ontoya
Olane Splller
Ena H e nn quez
Precious M on toya
Tippy Spratt
Paul H ensley
Bill H,II
Betty Mooney
Hans Staartges
Jake Mooney
Mary Stark-Love
Ed H ,II
Joe Mooney
Roanne Stern
Julie Hlttiger
Edith Moove
Sharon Stewart
Trang Hoang
Tlffany Morgan
George Stokes
Kelth H olllngswOI"th
Juhe Morog
Jane Strnadel
D ave Hookham
Eduardo Muoz
Mike Stude
Jim N atujec
Mike N ebel
Amanda Sulak
Troy Huechtker
M orton Susman
236
I N O E X
Con Cario 19
Bernstein, Lou
Adl 43. 57
AgUllar. Laura 37
Bombing Range 9 I
AgulleraHellweg. Max 35
Crete 212
Borinquen 4 1
AgOlnSl
166
Brazilian Amazon 79
Bril. Stefania 2
Brimmer. Henry 2
Amazon 79
Brown. D avid I l. 2 14
Brown Pelican 99
Oaguerre. Louis 18
Buitrn. Roben C. 20
Angkor Wat 79
Byelorussia 79
David Liittschwager 99
Apollo spacecraft 76
California 79
Callas. Maria 2 11
OeMeyer. Baron
Asoa 79
Camnitzer. Luis 60
deSouza. Allan
Caracas 80
Caribbean 120
Oow.Jim 166
Drlve-In Theo[er Series
BOlles y Bolos
Balley. D avid 127
Baldwln. Frederick 12
Ecuadoran Amazon 79
Eliot. T. S. 174
Eratosthenes 105
Chicano art 19
Erdsicht 76
Bauhaus 158
Belfut 80
Belleza en Cornada 42. 52
237
27
170
t 71
I N O EX
Graves. Georgla I 33
Gnthel: Ingo
M exlCo
42
H
Hadley. Kellh
Fluklnger. Roy 7
Kreneek. Tom 19
Kuw .. t 011 Well Flres. The 160
1SO. 1S l. 153
Harpe's Bazaar 14 1
Harry Ransom Humanittes
FotoFest Edueatlon 2 14
FotoFest Exhibitlons 1992- 1994 183
Heliography 7
Hermes 157
L. An -My 170
Le. O,nh 170
10. 118. 11 9
G
Gall. Sally 154
GallerieslMuseumslArt Spaees 150. 175
Galveston Arts Center 166. 167
Galveston County HlStoneal Museum 156
Galveston Renaissance Foundatlon 21 2
L
La Seala 2 10
Lamas. Jos 1 68
Lamb. Kathleen 168
Landseapes of the Cold War 80
Lelong 133
1-95 - COnSlrUC/lOn - 11 69
Imagire.Oorothy 170
In My Falher's Sweeles/ Dreams 167
IndonesIa 154
M ndezCaratlnl , H ector 4 2. 53
Mendoza, Tony 60
Menzel. Peter 160
MexlCan Revolut ion 204
238
80
1N D E X
Snchez. Chris 28
Para un recuerdo 18
Santena 168
170
Mltchum. Robert
148
Scotland 154
Montoya. Delilah 39
Moon. Sarah
Seave, Tom
Molona. Genaro 29
Monasteno. Leonor Ort tz 205
127
184. 191
Scala diva 2 10
166
Mountains o f Debt 1 13
Photo Performance 73
Shames, Stephen 80
Muller-Pohle. Andreas 2
PhotoSecessionists 127
Muoz. Celoa 36
PlCcagliani. Erio 21 1
Munro. J. RIChard
1S3
Pia. Manuel
Pollution 1 10
Sokolsky. Melvin 14 1
Somalian children 80
170. 17 1
NASA 10
NASA Satellote Images 1 19. 120
NASA's Johnson Space Center 1 18
184, 189
Spherical Concepts 1 18
Spontini, G. 2 1 1
Refugee Currents 1 12
127. 145
Nuclear Des/re I I I
nuclear obsesslon 80
Taino Indians 4 1
145
Rondnia, Brazil 79
Rumania 89
Ogawa. Setsuko 97
158
Suffragettes 126
Suffragist movement 158
3M Corporation 10
Solute to ltaly 2 10
Samen, Robert 1 18
239
Tracey. Andre 80
Traviora. Lo
2 10
154
Ukraine 79
Umbra Editions. New York 154
United Nations databases 1 18
University ofTexas. Austin 7. 158
Utah 98
V
Valdes. Dawson 118
Valverde. Ricardo 40
Vargas. Kathy 20
Vzquez. Victor 43. 58
Viera. Ricardo 61
127
Z
Zendejas. LuIS 205
Zuckerman. Ben (fashion) 142
Zulueta. Ricardo Estanislao 60. 73
COVER CREDITS
Front Cover
Middleton/Liittschwager
Delilah Montoya
BACK COVER
Pablo Camb
8. Middleton/Liittschwager p. 99
240
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