FotoFest94

The Fifth International

FESTIVAL

01Photography
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FOTOFE ST

FOTOFEST

IS

APPRECIAT I O N

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FO R

ART S

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ORGA NI ZAT I ON

I NT E RNATI O NAL

LIT ERACY

ORG ANI Z ACION

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

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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.

U6

quien muri repentinamente en 1992.

Ji C

H_L)
CLAS. _ _

ti;!

A Q.__ 1~

1)OoJiCLOil
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

Library of Congress Catalog Card Number: 94-61732

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

THE FIFTH BIENNIAL INTERNATIONAL FESTIVAL OF PHOTOGRAPHY

American Voices. Latino Photogrophy in the

u.s. _

Fashion: Evolution I Revolution. _ The Global Environment

The Brown Foundation

The Wi lliam Stamps Farish Fund
The Rockefe ller Foundation
Houston Endowment Inc.
The Nathan Cummings Foundation
The Andy W arho l Foundation for the Visual Arts
AT&T
National Endowment for the Arts
Cultural Arts Council of Houston
The Wortham Foundation
Texas Commission for the Humanities
Texas Commerce Bank
Metropolitan Life Foundation
Caddel l & Conwell Foundation
Texas Commission on the Arts
Shell Oil Company

JA & Isabel M.

Elkins Foundation

The Charles Engelhard Foundation

The Margaret Cullinan Wray Charitable Lead Annuity Trust
Texaco Inc.
Winslow Foundation
The Harris and Eliza Kempner Fund
The Webber 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

FRED B ALDWI N, P RESIDENT

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

M ARTA SANCHEZ P HIUPPE

Exhlbl1lOnslPub/lcotlons Coordtnator

Spantsh Language Editor

C AROLYN R ICHARDS

Pub/lc Re/auons untl/ Augus!. /994

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

Meeting Place and Fine Pflnt Auctlon

T RACEY D . C O N WELL
H ERMAN E . D ETERIN G

Spanlsh Language AssoClate Editor

j ENN IFER C ASO LO
EDOUARD P HIUPPE
JOSE R OD RIGU EZ

111

M ARTA SANCHEZ P HIUPPE

Lattn Ameflco PR. and Spantsh Trans/auons

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

D APHNE W OOD G AWTHORP

SUSANNA S HEFFIELD

T OM C URLEY

P ATSY C URLEY

Wmer. Media Re/auons

G ERALD D . H INEs
M ONICA S HAUGHNESSY
JAMES

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

JAMES EDWARD M ALONEY. S ECRETARY

A DELAIDE DE M ENIL

L ISA H ERNAN DEZ

j EFFREY M C K AY

M ALDONADO C ONSULTING

DeSlgner and Art Director

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

W ENDY W ATRI SS. A RTlSTI C D IRECTOR

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

EXHIBITIONS AT THE GEORGE R. BROWN CONVENTION CENTER

AMERICAN VOICES,
LATINOPHOTOGRAPHY
M EXICAN
P UERTO
CU BAN

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

GALLERIES. MUSEUMS. ART SPACES

MUSEUM

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

AOOITIONAL PARTICIPATING GALLERIES, MUSEUMS,

ANO ART SPACES, FOTOFEST '94
LIST

OF

GALLERY,

PHOTOGRAPHY

MUSEUM, AND

HOUSTON,

SEWALL ART

GALLERY,

F OUR

P HOTO G RAP H ERS :

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

L EIG H- N USSENBLAT T : A MER I CAN

F LAT

180

GALLERY

J AN E H IN TON
A MY

B 'LAK E MOR E

FOTOFEST EXHIBITIONS 1992-1994

FOTOFEST
T HE

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

LITERACY THROUGH PHOTOGRAPHY

THROUGH

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

the global environment- what is the connection? "

BEEN ASKED . " Latino photography, fashion ,

Perhaps it is better to ask why there needs to be a logical connection.

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
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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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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
W EN DY W ATRISS . DI RECTORA A RTlSTICA
FOTO FEST ' 94

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American
.
----VOlees:
MEXICAN AMERICAN
PARA

UN

Photography

In

the

U.S.

RE C UERDO:
PH OTOGRA PHY

MANY CHICANA ANO CHICANO

BY

CH I C ANAS

AND

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
/9

GEORGE

R.

BROW N

CONVENT I ON

CENTER

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.

B UITRN A ND KATHY VARGAS

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)

Voces Americanas: Fotografa mexicano-americana

Para un recuerdo: Fotografas de chicanas y chicanos
Muchos artistas y fotgrafos chicanas y chicanos recuerdan vvi damente su fascinacin con viejas fotos de familia.
especialmente las de los bisabuelos. abuelos y tos abuelos. Estas imgenes poseen un poder de los orgenes que
tom ms sentido durante la poca de " El Movimiento" (el movimiento chicano de 1965 a 1985). Los ar tistas
chicanos y chicanas queran saber algo sobre su pasado. su identidad, su historia. Las fotos extendan su memoria y
ayudaban a la formacin de una identidad histrica y mitolgica, unindolos a su pasado.
El pasado, experimentado a travs de la cultura, se parece a la geologa. Debajo de la superficie de cultura hay
capas de significacin que abarcan los sedimentos formados en el tiempo y el espacio. Excavando ms profundamente uno encuentra los orgenes, los mitos fluidos que penetran el estrato del significado.
Para el chicano el pasado comprende al menos dos sedimentos complejos que forman una amalgama de
mexicano y estadounidense, con una capa indgena precedente en el mexicano. Estos dos sedimentos fueron
juntados a la fuerza en 1836 como resultado de la campaa del presidente mexicano Santa Ana para suprimir la
revuelta de Tejas.' Tejas gan su independencia de Mxico, se declar una repbl ica y en 1845 pas a formar parte
de los Estados Unidos como el veint iochavo estado de la Unin. La independencia de Tejas llev eventualmente a la
guerra entre Mxico y los Estados Unidos ( 1846- 1848), hecho que afect rad icalmente y cambi la vida y el futuro
de lo s mexicanos en su propia patria, al norte del Ro Bravo.2
Durante este perdodo en Europa, Louis Daguerre perfeccionaba el proceso de la heliografa. En 1839 la
Academia Francesa de Ciencias y el Instituto de Bellas Artes Francs anunciaron oficialmente los detalles del
daguerrotipo, introduciendo la invencin de la fotografa. El rpido desarrollo de la fotografa ocurri en una poca

2/

GEORGE

R .

BR OW N

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.

BU ITRN y K ATH Y VAR GAS

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

de los chica nos. Los chicanos viven en los Estados Unidos.

5

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.

Jr. (Los Angeles.

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

BERTHA G I L RODRIGUEZ

IDportrait ofparml!.1945
Eagle Pass
Conrac( from o ri ginal negari ve

25

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[vintage]

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27

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28

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from

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from rhf brand",. Sht ;, working in Corning, California.

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29

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Dalias lI.Iirh Mm'No. "
19'))

40

G E O R G I

BR O WN

C ONVENTI O N

C ENT(R

American
.
---VOlees:
P UERTO

Rr

TWENTY YEARS AGO .

AN

Photography

In

the

U.S.

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

Voces Americanas - Fotografa puertorriquea

Hace veinte aos. si alguien hubiera preguntado en una galera. en un museo o en una publicacin de arte de la
ciudad de Nueva York el nombre de un fotgrafo latino contemporneo. seguramente la respuesta hubiera sido el
fotgrafo mexicano Manuel Alvarez Bravo. Muchas cosas han sucedido desde entonces.
Los fotgrafos de Puerto Rico. tanto los que viven en la isla como los de afuera. han estado activos durante ms
de ciento y treinta y cinco aos. perfeccionando la tcnica. estableciendo estudios de retrato y comerciales.
documentando y reportando sobre la dispora.

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

nrflr Arrribo, P.R.

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

loriginal. Ilubblc Jet Laser I'ri,"1

5/

SANDRA REUS
Miss Puu ' o Rico 1988
PAGEANT

(11)

52

HECTOR MENDEZ -C ARATINI

Masqlland,
1994

53

PABLO CAMBO
&ta d_/ Muo 11
Portfo/io: LOS

COM ESTIBLES

[ori ginal. ha ndcolo red si lver print ]

54

RAFAEL

RAMIREZ
P,urlO Nu(vo, P.R.
Diciembre 1990

55

NESTOR MILLAN
U nt itled
from
1987

56

A GAlNST STRA IG HT U NES SERI ES

ADL
Allto Portrait, 1974
from

TH E EVIDENCE

OF THINGS NOT SEEN .

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

THE CUBAN AMERICAN

Photography

In

the

U.S.

component of American Voices is not just a mirror exercise in ethnicity. The

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."
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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

Voces Americanas - Fotografa cubana-americana

Los componentes cubano -americanos de Voces Americanas son no slo un ejercicio de reflejo sobre etnografa.
La seleccin indica la viveza y diversidad de los aspectos actuales del arte fotogrfico representados por doce
reconocidos artistas/fotgrafos cubano-americanos. Todos los artistas nacieron en Cuba: la mayora creci y se
form artsticamente en los Estados Unidos.Tambin repre sentan difere ntes pocas de migracin y
establecimiento, as como diferentes memorias y visi ones polticas del xodo causado por la Revolucin Cubana de
19S9. Este xodo contina si n interrupcin hasta nuestros das. Tres de los artistas, cuya separacin individual del
rgimen y exilio autoimpuesto suced i a finales de los aos 1980 y princi pios de los aos 1990, eran artistas muy
res petados pertenecientes al movimiento cubano conocido como la edad de oro de la avant garde o el
renacimiento artstico de los ochenta.
Como resultado de la histori a re lativamente reciente del establecim iento de los cubano-americanos en
los Estados Unidos y de las barreras polticas entre los dos pases, est a parte de Voces Americanas se enfoca
excl usivamente en imgenes e ideas contemporneas, abarcando una diversidad de estilos y expresiones
dist inguidamente ind ividuales. Los trabajos se extienden desde conceptos basados en fotos, instalaciones de
medios mezclados hasta imgenes de cmara oscura, desde historia y "teatro de la memoria: ' hasta fotografa
de la calle.
Las instalaciones de medios diversos y las representaciones en video de Mara Magdalena Campos-Pons, aluden a
una mirada de temas que se interconectan abordando la recu peracin de memorias, los orgenes, la herencia
cultural, el sincreti smo, la historia y uno mismo. "Todava no decido si soy una fotgrafa. Uso la fotografa cuando
considero que es la mejor manera de expresar m i idea."
Silvia Lizama adopta el "teatro de la memoria" por medio de ideas y metforas visuales. Las series pintadas a

6/

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CONVENT I ON

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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

y pensadores contemporneos, y en las escenas de la vida cotidiana:'

Voces Americanas mira el arte/poltica, naturaleza/feminismo, aislamiento/transgresin, identidad/inmigracin as
como a otros temas pertinentes a la hlbrida cultura estadounidense. La calidad artstica y compromiso de esta
exhibicin refleja los mltiples rostros de la fotografa y sus numerosos papeles en el arte contemporneo. La
exhibicin trata de la cultura, no solo como un fenmeno conceptual, sino como asunto de expresin individual o
de consenso de grupo.Todos estos aspectos de biculturalismo y multiculturalismo estn entrelazados y
reem plazados por un compromiso fuerte y reconocido por la esttica y un nuevo renacimiento artstico- lo que
Guillermo Gmez Pea refiere como " una Amrica ms all de Coln:'
Fotografa cubano-americana trata sobre voces individuales. estticas, y personas. Cuando se les pregunt a los
artistas cmo querian ser reconocidos, "cubanos, latinos, hispanos?" las respuestas variaron. Algunos se consideran
primero artistas y despus cubanos. Muchos son cubanos, primero y despus. Otros sienten que son
latinoamericanos o solamente americanos que son orgullosamente cubanos.
R IC ARDO V IERA
C URADOR

63

MARIA MARTINEZ - CA AS

Virgm D, 1.11 Cllridad. / 992

from

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

ABE LAR DO MORELL

Lighl Bu/b. /99/
Counesy o f Bonni Berubi

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

CiJa llg6Altar. Cbicago. 1977

71

NEREIDA GARC I A

FERRA7

H o mt'1Iojt'

)ul)' 19'14

72

1I ""

abur/,} Alllrgllrilll

RICARDO

ESTANISLAO ZULUE TA

Humant So,,) VIII

Photo Perfo rma nce. 1991

73

MARIA MAGDALENA CAMPOS - PON S

Th, 7 POWtrS
1993

74

ANA

MENOI

TA

La VrmlS Nrgra

I Tbr Blnek

v,."usJ

Ph ocograph of ca rvC'd cave waH exC'culcd in

Varadero Beach. Matanzas Provincc, C uba

CO llrl es)' of Ihe

Est3t C

of Ana MendiC'1 3 and

Galer; e Lclong
198 1

75

G/obalrenlrcy cannoc be percerved drrecrly, buc only rn small Un/cs. chrough

che shapes o( models, dlagrams, media

S{O(lS(lCS ",

yec global realicy has

an rncreasrng Impacr on everyday Ii(e.

I NGO

G UNTHER,

TAANSWORLO A NYWHERE: A NY M EDIA

ALTHOUGH WE ARE OFTEN TOLO

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

To use image and one 's eyes to try to understand the

(rom the very beginning For more than one hundred ye(J1~9~~t
environmen t. Painting and scientiftc imaging are not the

images originate (rom the same source and

need to understand the world better.

P ON TUS

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

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BROWN

CONVENTI O N

C ENTER

EL MEDIO AMBIENTE GLOBAL

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,

TRANI WORlD A NYWHERE: A NY M EDIA OYER A NY M ArTER

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,

K UNST-UNO- A u SS lfLlUN GS HAllE.

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

IHAGES OF THE WORLD

takes a holistic approach to both photography and the environment.Alongside

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

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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

Imgenes del mundo

Imgenes del mundo da una perspectiva completa de la fotografa y del medio ambiente. Junto con las selvas

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

MAR COS SANTILLI

Parda - No va RiIJa

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

EPA Sup"fimd Siu 666. Elyrin

J?38

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,

pr<ftrring 10 watrh hiI 'b1ings plny oUlsid, ofhiI

Dtlano hom~. 8 tar old Fdipt Franco wns borll

wilh no nrms or Ltgs. nlLtgtdiy dut

/0

txposurt to ptsticidts whiLt prtgnant.

88

Ramonas

ANTONIN

KRATOCHVIL
Thar Factor Polluting th. Air
Tiergu, Mures, Rumania, 1989

89

ART U R O

GARC I A

CA M POS

Los "i, os di' Cht'rllobyl, Tarara, Cubil

90

PETER GiN

Missi", Bravo 20 Bombing Rang', Carson Sink, "ror Stillwaur

\'(Iildlift Rifilg" N,vada, 1987

91

RYUJI MIYAMOTO
Kowloom Walkd City

92

STEPHEN SHAMES
Ralphjumps
Rafael ( 13) jumps from ono
building

1977

93

[O

Iho n<xI, oigh[ stories up

RICARDO

jlMENEZ
Srr DE m

H C ..... RRO

G/mm.!. 1993

94

RICARDO GO ME Z - PERE Z

Av,. Libatador-Cart/mJ 1987

95

BARBARA NOR F LEET

Nevada test site: 1350 squ are mi les. 199 1
Ho use o n frin ge o f a simu lated tow n over which
a nuclear "device" (bo mb) was ex ploded in 1955 .
Two ho uses remained from (he town.

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

a ncarby park, ragi ng (irc foreed her

(O

Ace in a small rive r.

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

MIDDLETON AND DAV ID LIITTSCHWAGER

California Brown P,lican
P ELECANUS OCC IDENTALlS CA LlFO RNI CUS

San Di'?,o, 3 0 JI//y J987

99

MARTHA

MADIGAN

Dallrt"-lduuiry

fro",

H UMAN

A r Rl-

Type " R" color photograph fro m solar photograms

1993-4

100

ELLEN GARVENS
80sqll' /992
Toned phorogra"h. copper a nd stcel

/0/

102

PATRI CK NA G A T ANI
Bal FliglJl

Ampitluaur; Carlsbad Cov"",

N,wM,xico. XXJ Cm"''}. 1989
original. IIford Colo rlu xe C hromogcnic colo rprin d
CO Urtc:sy of Janc H. Baum Gallcry. NYC

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

Ptolemaeos's work from the first century A. D.

But it was a Greek scholar. Eratosthenes. who concluded in 200

B.C.

that the earth is round. and even calculated

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

El procesador del mundo-El vestbulo de globos

En 1492. un marinero y cosmgrafo alemn llamado Martin Behalm complet el globo terrqueo preservado
ms antiguo que se conoce. En esa poca serva como un instrumento de publicidad hecho para ilustrar y
persuadir a los comerciantes del sur de Alemania de financiar una expedicin portuguesa a China. En el primer
ao de su realizacin. el primer globo se volvi obsoleto. Coln haba regresado de Amrica y trajo consigo el
conocimiento de un nuevo continente.
Durante los aos oscuros de la Edad Media. los cientficos islmicos protegieron el antiguo y fundamental
trabajo cosmolgico que sirvi como base de este primer globo- el trabajo de Ptolemaeos de principios del
primer siglo O.e. Pero fue un acadmico griego. Erosthenes. quien concluy en el ao 200 A.e. que la tierra era
redonda. e incluso calcul la circunferencia en 45.000 kilmetros. Increlblemente cerca de la medida real de
40.000 kilmetros.
Casi 2200 aos despus. en 1987. una amiga me dio un globo para que lo cuidara cuando ella se fue del pas.
Me enamor del globo y nunca lo regres. Compr otro por razones simtricas. Despus de unos meses.
termin con una familia completa de globos que sigue creciendo: hoy tengo ms de cien.
En una poca en que la internacionalizacin est creando un mundo cada vez ms homogneo. dejando slo
las trazas de las culturas indgenas. y a otros tantos sumergidos en la llamada norma internacional y en la lgica
economo-industrial. cmo mostrar esperanza. desesperacin. elegancia o tentacin en una escala global?
Me estimulaba la observacin de que los globos simbolizan la tierra ms que reproducirla. Considerando la
cantidad de informaCin que eXiste ahora sobre el planeta. los globos de tpicos o tema s pueden ayudar al
desarrollo y al uso de un lenguaje Visual diferente . El ubiCUO y comn cdigo cartogrfico que representa las
tierras bajas en color verde y las montaas en color caf. lleva a los absurdos de un Sahara verde y de una selva
tropical montaosa en la Sierra Madre en color caf.
Reducido a una escala de percepcin humana. casI al tamao de una cabeza. los globos normalmente
representan la tierra en una escala de entre 1: 10 millones a 1:200 millones. Los que yo uso tienen una escala

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

Dark red circLes: Gil spills

Grey shaded areas: Land pollution from chemical
ftrtilizers and sea pollution

:j: State ofselected pollution 1988.

OZONE

At an average of every three months this globe becomes

obsolete beca use ofyet another major oil spill.

HOLE

PORTRAIT ,

1988

A second permanent Gzone H ole was detected in the

area ofthe North Pole in 1990, producing radical
meteorological changes in parts ofthe Northern
H emisphere.

C ON T AM I NA CI ON

Crculos en rojo oscuro: derrames de petrleo

RETRATOS

Areas grises: tierra contaminada debido a ftrtilizantes

qumicos y contaminacin martimaen 1988.

DE AGUJEROS
1988

DE

OZONO ,

Un segundo agujero permanente de ozono fue detectado

en el rea del Polo Norte en 1990, esto p rovoca
radicales cambios meterolgicos en partes del Hemisferio
Norte.

Ms o menos cada tres meses este globo es obsoleto debido

a otro gran derrame de petrleo.

110

CHERNOBYL

CLOUD

NUCLEAR

Red indicares the extent 01 the radiation cLoud on April

2 7. J ust afta the accident in Chernobyl, blue, its almost
worldwide distribution until the 6th 01May.
LA

NUBE

DE

DE S IRE

A Nigerian top government official noted recently that all

nuclear weapons arsenals are controlled by non-Black
governments, explaining the need for a Black Bomb. In
addition to the five official members 01 the nucLear cLub,
at least anotha eight nations actively pursue steps to
qualiJj for membership.

CHERNOBYL

El rojo indica la extensin de la nube radiactiva el 27

de abril. Justo despus del accidente de Chernobyl,
el color azul indica su distribucin casi mundial hasta
el 6 de mayo.

DESEO

NUCLEAR

Un oficial importante en el gobierno de Nigeria coment

recientemente que todos los arsenales de armas nucLeares
estn controlados p or gobiernos no negros, explicaba as la
necesidad de una bomba negra. Adems de los cinco
miembros oficiales del cLub nucLear, al menos otras ocho
naciones aspiran a obtener una membresa.

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

ENV IRO NMENT

limh
~um
DR. CAROLYN SUMNERS
DIR ECTOR OF A STRONOMY AND THE PH YSI
H OUSTO

Welcome

(O

AL SCIE

CES

M USEUM OF NATURAL S CIENCE

rhe Earrh Forum. USlng rh,s global commUnlca!lon and In(ormarion network. visir differenr conrinenrs and invesrigare rhe planer"s

changlng popula!lon and natural resources . Capture space ,mages o( Earrh

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

Each of The Earth Forum's world work stations

15

an exhlblt space wl th a co ntlnent and resource o cus. A eac

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

The explodlng human populatlon thre ten s the habita s

o f all liVing creatures. Th is threat

15

most Immedlate

where humans are expanding into rich, fragd ,and

irreplaceable ecosystems such as the world's tropical
rain forests,

.~

-...-

W O RK

STATIO

... . . . .."-'............
....... . .............
.
~

2:

N O RIH

AM ER I CA

&

F RESH

W AII R

Llfe canno t eXlst nor can populatlons remaln healthy

wi thout fresh water withdrawn from nvers, lakes, and
under ground,

._a.- .,. . .,. . .. ..,.

_ _ _ c.....--..

'.500 -:uoo

W ORK

STAT IO

_ " " '-

3.

o ....... ,

. ........... ...

A US IRA II A,

O CE A

lA

&

l HI

O C IA

The oceans provlde food, minerals, and fossd fuels

while they protect fragile ecosystem s in th

sea and on

isolated islands, O cean currents encirc le and connect

the planet.

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

The planet's encircling blanket of air protects all life

underneath. Growing populations, especially in urban
areas, pollute this most precious and global of all
resources.

.~;
W OR

. --=- -=--="'-

... -

5:

ST A TION

... ..-._,-,-

.~_--:-_. =:-

E URO P E &

E NE R GY

Sunlight is the ultimate source of Earth's energy

Capturing and using solar energy can address the
planet's inequitable and accelerating consumption of
fossil fuels .

.- .- .,.......
W OR

STATION

6 : A FRICA

&

Fooo

Africa is a land of fragile ecosystems and an exploding

population. Worldwide food production has more than
doubled in thirty years, but its distribution is uneven
and the environmental costs ofthe increased productivity must be considered.

0 - 0.15

0.15 - 0.25

... ~I"'
. 0.50 - 1.0 . ov.,.0

. 0.25 - 0.50

.dnotrl.HatM

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

a fac ilitator guiding visltors to Informa Ion

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 he graphs on page I 19 are by Roben Fmc

., he NASA ~d t ellt t c rmages on pages I 15 (vlew o( ca. l h from Apoll o)
I I ( N o rthc r n Pcrsra n Gu lf reglon). and 120 (top, Canbbcan, bOltOm.
Su'alt of G.b ral l r) are reproduced (aurt sy a( NA SA

1/ 8

EL

MEDI O

AMB I ENTE

GLOBAL

El foro de la Tierra
D R. CAROLYN SUMNERS

Directora de Astronoma y Ciencias FsICas

Houston Museum of Natural Science

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

El explosivo crecimiento de la poblacin humana

amenaza los hbitats de todas las criaturas vivientes. Esta
amenaza es ms evidente donde los humanos estn
abarcando ecosistemas ricos. frgiles e irremplazables.
como las selvas tropicales.

E STACIO

DE

TRABAJO

11 2 : AM ERICA

D EL

N ORTE

&

A GUA

DULCE

La vida no puede existir y las poblaciones no pueden

tener salud sin el agua dulce proveniente de los ros.
lagos y corrientes subterrneas.

E STACION

DE

TRABAJO

11 3 : A USTRALI A .

O CEANIA

&

LOS

O CEANOS

Los ocanos proveen alimentos. minerales y co mbustible

fsil. al mismo tiempo que protegen frgiles ecosistemas
en el mar y en islas distantes. Las corrientes ocenicas
circunva lan y conectan el planeta.

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.

. ~..::._. ::=-E STACION

DE

.=- -.::::=-- -=..-=-- =-

---""----

TRABAJO

#5 :

E UROPA

&

EN ERGIA

La luz solar es la fuente principal de la energa de la tierra. Capturando y

usando la energa solar se puede enfrentar el injusto y acelerado consumo
de combustibles fsiles del planeta .

....- -_.E STACION

DE

TRABAJO

#6 : AFR ICA

& AL I M ENTOS

Africa es una tierra de ecosistemas frgiles y de poblaciones explosivas. La

produccin mundial de alimentos se ha ms que duplicado en los ltimos
treinta aos. pero su distribucin es desigual y los costos ambientales de la
productividad incrementada deben ser considerados.

.... ." . ........ . =::-';.-:'.u

._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

SOON AFTER THE INVENTION OF PHOTOGRAPHY,

artists began to record the ever-changing images of fashion .

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

disciplina y expresin; ahora somos testigos de la deconstruccin del vestido.

Tambin somos testigos de nuevas formas de pensar y escribir sobre la manera en que la moda es representada y
registrada por medio de la fotografa.
A principios del siglo viente, Baron de Meyer era el primer fotgrafo de moda reconocido. Su trabajo estaba
fuertemente infl uenciado por el romanticismo de enfoque suave de Alfred Steiglitz y otros foto-separatistas. En los
aos veinte las fotografas en blanco y negro de contornos agudos de Edward Steichen y George Hoyningen-Huene
ayudaron a revolucionar la manera en que la moda era representada. En los aos treinta y cuarenta, Louise DahlWolf y Martin Munkacsi introdujeron movimiento y una nueva informalidad al hacer mucho de su trabajo en
localidades fuera del estudio, en la playa u otro lugar. Poco despus, Richard Avedon, William Klein y Frank Horvat
fueron un paso ms adelante al yuxtaponer la moda con la vida en la calle, bares, circos y casinos. En todo su trabajo
el ura de neorealismo provee un trasfondo para el glamour y la belleza de la moda.
En los aos sesenta y setenta, fotgrafos como Helmut Newton y Chris von Wangenheim crearon situaciones
erticas que hicieron de la sexualidad una parte evidente de la moda. Al mismo tiempo, Deborah Turbeville y Sarah
Moon tomaban un enfoque ms suave , ms romntico para describir las mujeres y la moda. Los trabajos de Gilles
Bensimon y Patrick Demarchelier muestran cuerpos femeninos bien formados y atlticos que se convirtieron en el
punto de atencin central en los aos ochenta. Hoy, los lmites tradicionales entre gneros se confunden en la
fotografa, as como en la vida cotidiana, en los mensajes de liberacin homosexual y de fem inismo militante. Los
papeles de hombre y mujer son intercambiables en el trabajo de Herb Ritts y Bruce Weber; los hombres son tan
importantes como las mujeres.
En 1955 la fotografa de moda adquiri sus propias dimensiones glamorosas con la pelcula de Michelangelo
Antonioni Blowup, inspirada por el fotgrafo ingls David Bailey. Antes de los aos sesenta, los fotgrafos de moda
no eran muy conocidos por el pblico y hasta los mejores, como Horst, se vean a si mismos como artesanos y no
como artistas. Hoy, a fotgrafos de moda como Richard Avedon se les considera artistas importantes cuyos trabajos
son sujetos de exhibiciones ambiciosas en museos importantes. Avedon y fotgrafos ms jvenes como Steven
Meisel y Herb Ritts, quienes son celebridades por derecho propio, imponen sus puntos de vista en la representacin
de la moda. Es la tarea de los fotgrafos de moda reaccionar a la moda, pero en 1994, todos nosotros, incluyendo a
los que hacen la moda, respondemos con genuina excitacin y placer a las maneras en que los fotgrafos retratan el
diseo.
ETHELEEN STALEY AND T AKI W ISE
C URADORAS

/ 29

REUTLINGER STUDIO

Untitled

c. 1905

130

PARIS

BARON ADOLF DEMEYER

Carlotta Monurry
December 1, 19 18

13 1

EDWARD STEICHEN
Mariofl Mor~holl.u

Ncw York , c. 1927

Repri,ucd wilh pC'rmission o(

Joann ... T. SIc:ic hen

132

GEORGE

HOYNIN G EN - HU E N E
Gtorgia Grtlvt'J

Swimwca r by Lclong. 1929

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

LOUISE DAHL - WOLFE

Twim on th, B.ach

1955

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

Harpas Bazaar. March. 1963

Fashion: Capucci

141

AR T

KANE
Bm Z ucktrman FaJhion
VogUt, 1962

/ 42

HIRO

Harry Wimlon Nteklaa on Hoo!

Harp" j Baznar, N. Y., 1963

/ 43

DEBORAH TURBEV I LLE

Bllthhollu Sain.
VOguf, 1975

/ 44

HELMUT

N E W TON
\\'t'omllll ObSt'rlling \1an

C alvin Klein r-as hio n

/ 45

ARTHUR

ELGORT

Azzrdin. Alnia Fmhion

Model: Naomi Cam pbcll
1986

/ 46

HERB RITTS

Frtd with Tim

B ODY SHOP SERIES, H OLLYWOOD

1984

147

BRU C E WEBER
Rob~rl

Miulmm llIilh j llJmillf' IJnd CJro! in Azud,u Alia

Sa nta Barbara, C A, 19') 1

/ 48

WAYNE MASER
Cu~SJ

Fashioll

Model: D rew Barryrn ore

1993

/ 49

MANY GAL LERIE

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

MUCHAS GALERIAS y ESPACI O S

ARTISTICOS EN HOUSTON, SE U N E N
A FOTOFE T PARA MOSTRAR
EXHIBICIONES FOTOGRAFICAS
DURANTE EL Q UINTO FESTIVAL
I NTERNACIONAL DE FOTOGRAFIA,
NOVIEMBRE,

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.

JOHN CLEARY, FINE ART PHOTOGRAPHY

BURT/MISSY FINGER: PHOTOGRAPHS DO NOT BEND

FOTO ZEUM

INMAN GALLERY

J. ARMIN RUST, FINE CONTEMPORARY PHOTOGRAPHY

TEXAS CENTER FOR PHOTOGRAPHY

THE

SONGS

OF

MY

M USEUM

OF

FINE

ARTS.

HOUSTON

CANCIONES

PEOPLE

Songs o( My People is a photographic exhibition that captures

the contemporary African-American experience. In the summer
and fall of 1990. more than fifty of the nation's premier African
American photoJournalists were given the assignment to cross the
natlon and capture the diversity of the Black experience on film. The
resultlng 150 photographs are a loving and sensitive, critical and
hopeful self-portrait of the African American community through its
own eyes.The exhibition is accompanied by a fully illustrated
catalogue and an HBO special. Works by two Houston photographers, Geary Broadnax and Morrie
Rlchardson, are fea tu red in the show.
Songs o( My People is a project of
New Afncan Vl slons. Inc. The
exhlbltlon was organized by the
Corcoran Gallery of Art and
developed for Clrculation by the
Smlthsonlan Instltutlon Traveling
Exhlbltlons Servlce. Time Warner. Inc.
15 the maJor sponsor of the exhibition
In honor of J. Richard Munro. In
Houston. support has been provided
by Warner Cable, with additional
support from First Interstate Bank of
Texas and Foley's.

KEITH

MI

GENTE

CanCIones de mi gente es una exhibicin fotogrfica que captura

la experiencia contempornea afro-americana. En el verano y otoo
de 1990, a ms de cincuenta de los mejores fotoperiodistas afroamericanos se les encarg recorrer el pas y captar la diversidad de
la experiencia negra. Las 150 fotografas que resultaron son un
retrato carioso y sensible, crtico y esperanzador de la comunidad
afro-americana vista a travs de sus propios ojos. La exhibicin est
acompaada de una catlogo ilustrado y un programa especial de
televisin producido por el canal HBo. En la exhibicin estn
incluidos los trabajos de dos
fotgrafos de Houston, Geary
Broadnax y Morrie Richardson.
CanCIones de mi gente es un
proyecto de New African Visions, Inc.
La exhibicin fue organ izada por la
Corcoran Art Gallery y puesta en
circulacin por el Smithsonian
Institute Traveling Exhibition Services.
Time Warner Inc. es el principal
patrocinador de la exhibicin en
honor de J. Richard Munro. En
Houston, el apoyo adicional proviene
de W arner Cable, de First Interstate
Bank ofTexas y de Foley's.

HAOLEY

YOllllg Girlwitb f1ag, Miami uly 1990

Lent by

DE

ew African Visions , Ine

153

TEXAS

SALLY

GALL : NEW

GALLERY

PHOTOGRAPHS

SALLY

Sally Gall's new photographs feature landscape scenes from

Scotland. Indonesia. and New England. gleaned from the last two
years of travel. The density of the black tones. the emphaslzed
contrasts. and the nuance of structure charactenze the artlst's work.
Comblnlng the romantic with the intellectual. Gall exploits the
medium for brilliance and revelation.
A new book. titled The Water's Edge. devoted to the photography
of Sally Gall. with an essay by James Psalter. will be published (spring
1995) by Umbra Editions. New York. and distributed by Chronicle
Books. San Francisco. During FotoFest 1994. pre-publlcation copies
will be available exclusively through Brazos Books. Houston.

GALL : NUEVAS

FOTOGRAFIAS

Las nuevas fotografas de Sally Gall. que representan escenas de

paisajes de EscoCIa. Indonesia y New England. fueron recogidas en
viajes durante los dos ltimos aos. La densidad de los tonos negros.
los contrastes enfatizados. y el matiz de la estructura caractenzan el
trabajO de la artista. Combinando lo romntico con lo Intelectual.
Gall usa el mediO para lograr brillo y revelacin.
Un nuevo libro. titulado The Water's Edge, dedicado a la fotografa
de Sally Gall. con un ensayo de James Psalter. ser publicado
(primavera 1995) por la editorial Umbra Editions, y ser distribuido
por Chronlcle Books. San Francisco. Durante FotoFest 1994, habr
copias de prepublicaCln disponibles. exclUSivamente en la libren'a
Brazos Books en Houston.

$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

Thtr, was aman Ilik,d, but th, first tim, w, mad,

lo., I was afraid to look at him. I thought I was stil/ in
lo. , wirh Grtg. and ftartd bng o.trwh,lm,d by th,
id,a thal th, man in my b,d wasn't th, right on,. So.
I ehou to elou my '}tI. In th, dark, at I,ast th,
unurtainty umaintd. Ont day 1 madi tht mistaJu of

ul/ing him why I k,pt my '}ts eloud in b,d. H, said

nothing. S'.tral months laur. finally fru o[th, ghOSl o[
Grtg, and my doubts. I opm,d my '}ts. now urtain that
h, was th, on, I wanud to su. I didn t Imow that ir
would b, our last night tog'lh,r. H, was aboul lO I,a.,
m,. Whal.happms is always so for ahtad o[ USo
rhal wt can ntvtr cauh up lo ir and know
ts trut Ilpptaranu.
SOPHI E CALLE

AUlobiographieal Slorits- Th, Othtr

1993 Courtcsy Fracnkd Ga llcry. San Francisco

155

G AL V [ S I O N

WORKING THE WATERFRONT

ON

COU NTY

HI STO RI CAI

TRABAJANDO
PELICULA

FILM

In the tradition of Lewis Hine. Workmg he Waterfron on Ftlm is an

exhlbit of mantlme photographs taken from approxlmately 1900
untll 1940. Images produced by Galveston's Verkm Studio during this
penod document the working porto captunng the waterway at ItS
bUSlesl. chronlcllng the men and ships calling on the CltY. Por traits by
New Orleans photographer Achille Simon provlde a glimpse of the
men who labored on these vessels- an amazlng mixture of ages.
races. ethnlC backgrounds. and ski lis. Both collectlons commemorate
the uniqueness of maritime commerce and the features that make
seaports unlike other commu nities.
The exhibit explores both the historical context of the images
and their place in the history of photography and the visual arts.
Whether viewed as a contemporary tribute to the majesty of industnal development. as a modern portraiture collection. or as pure
social hlstory documentation. Workmg he Waerfront on Ftlm offers a
vlslon of a rarely acknowledged but vltally Important urban culture.

EN

LOS

MUELLES

EN

En la tradicin de Lewls H lne. Trabajando en los muelles en pelicula

es una exhibICin de fotografas marinas tomadas aproximadamente
de 1900 a 1940. Las Imgenes producidas por el estudio Verkm de
Galveston durante este penodo. documentan el puerto en actividad.
capturando los muelles en su apogeo. mostrando los hombres y
barcos que llegaban a la Ciudad. Los retratos del fotgrafo de Nueva
Orleans. Achille Slmon arroJan una mirada sobre los hombres que
trabajaban en estos barcos- una mezcla increlble de edades. razas.
antecedentes tnicos y habilidades. Ambas colecciones conmemoran
la singularidad del comercio martimo y los aspectos que hicieron de
los puertos martimos diferentes a otras comunidades.
La exhibicin explora el contexto histrico de las Imgenes y su
lugar en la historia de la fotografa y de las artes visuales.Ya sea VIS a
como un tributo con temporneo a la maJestad del desarrollo
industnal. como una colecCin moderna de retratos o solamente
como una documentacin hlstnco-soClal. Trabajando en los muelles
en pelicula ofrece una vISin de una cultura urbana raramen e
apreCiada pero Vitalmente Importante.

Wor J. mR he Wl1lerfronr on F,lm 15 rnade poss,ble In pan by el gr,nt (rom the Texas Commluee for

he I ~umanlt les. a s ate progr am o( the

M US [ U M

atlonal Endowment for the Humanltles

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

M :,~!<o. I C hll .M: tI !I

H ERMES

ARNAULT JOUBIN : THE

POWER

OF

LOOKING

ARNAULT JOUBIN : EL

With penetrating focus, Arnault Joubin renders a sharp point of

Vlew. He moves between magic and arto Using the perspective of his
thirty-one years, this young photographer knows perfectly how to
measure love and humor to show us the quintessence of his subjects.
In Joubin's eye, there are only two categories of photographs:
those that invent a style- an ambiance, a light. or an angle that w ill
be copied- and those that succeed in making pure emotion emerge
from the photograph. Joubin restores a spectacle of candid expressions through the choreography of the unspoken to pay homage to
the power of simplicity. Passionate about both color and black-andwhite , he takes the truth to its highest point, where his film reveals

PODER

DE

LA

MIRADA

Con un enfoque penetrante Arnault Joubin da un agudo punto de

vista. Flota entre la magia y el arte. Usando la perspectiva de sus treinta

authenticity and lucidity. Magnifying the view by instinct and by

necessity, Joubin takes photographs to teach us to see, and, moreove~ to teach us to look.

y un aos, este joven fotgrafo sabe perfectamente cmo medir el

amor y el humor para mostramos la quintaescencia de sus sujetos.
A los ojos de Joubin slo hay dos categorias de fotgrafos. La de
aqullos que inventan un estilo-un ambiente, una luz o un ngulo que
ser copiado-y la de aqullos que logran que la emocin pura eme~a
de la fotogralTa Joubin restaura un espectculo de cndidas expresiones
a travs de la coreogralTa de lo callado, para rendir homenaje al poder
de la simplicidad. Apasionado tanto por la fotogralTa de color como por
la de blanco y negro, lleva la verdad a su punto ms alto donde su
pelcula revela autenticidad y lucidez. Aumentando la visin por instinto
y por necesidad, Joubin toma fotografas para ensearnos a ve~ pero
an ms, para enseamos a mirar.

A LAIN D ELooSE

ALA IN D ELooSE

ARNAULT JOUBIN

157

GOETHE - I NSTITUT .

GER M AN

CULTURAL

A Second Look- Women Photographers (rom the Collectlons o( me

Horry Ronsom Reseorch Center at the University ofTexas. Austin.
features works by twenty-eight women photographers. beginning
with the early nineteenth-century cyanotypes of British photographer Anna Atki ns and continuing to contemporary expressions in
the medium as represented by the works of Barbara CraneJoyce
N eimanas and Houstonian April Rapier.The domestic settings and
genre scenes ofVictorian photographers Julia Margaret Cameron
and Lady Clementina Hawarden represent examples of early art
photography. while Christina Broom. one of the earliest women
photojournalists. shows her commitment to the feminist cause by
photographing the Suffragist movement in England. Renowned
photographers Ida Kar. Louise Dahl-Wolfe. and Berenice Abbott
illustrate a continuous tradition of female participation in portrait
photography.
The Harry Ransom Center for Photography is a primary source
for the study of the art and the process of photography from its
earliest development through the present.The co/lection was
established in 1963 with the purchase of the Gernsheim Co/lection.
a major photo-historical archive. The exhibit is presented at the
Goethe-Institut. German Cultural Center of Houston. courtesy of
the Harry Ransom Center.
PIT: BERLIN

HOUSTON

Uno segundo mirado: mujeres (otgra(os de lo coleCCIn del Centro

de InvestigaCIn Horry Ronsom de la Universidad de Tejas en Austin.
muestra trabajos de veintiocho fotgrafas; comienza con cianotipos
de finales del siglo XIX de la fotgrafa inglesa Anna Atkins y contina
con expresiones contemporneas representadas por las obras de
Barbara CraneJoyce N eimanas. y April Rapier. de Houston. Los fondos
domsticos y las escenas de gnero de las fotgrafas victorianas Julia
Margaret Cameron y Lady Clementina Hawarden representan
ejemplos tempranos de fotografa de arte. mientras que Christina
Broom. una de las primeras mujeres fotoperiodistas. mostraba su
compromiso con la causa femin ista fotografiando el movimiento
sufragista en Inglaterra. Reconocidas fotgrafas como Ida Kar. Louise
Dahl-Wolfe y Berenice Abbott ilustran una tradic in continua de la
participacin femenina en la fotografa de retrato.
La coleccin fotogrfica del Centro Harry Ransom es una fuente
importante para el estudio del arte y del proceso de la fotografa
desde sus comienzos hasta el presente. La coleccin fue establecida
en 1963 con la compra de la Coleccin Gersheim. un gran archivo
fotogrfico. La exhibicin se presenta en el Instituto Goethe. Centro
Cultural Alemn de Houston. gracias al Centro Harry Ransom.
STUDIO

RINGL &

OF

UNA SEGUNDA MIRADA :

MUJERES FOTOGRAFAS DE LA COLECCION
DEL CENTRO DE INVESTIGACION
HARRY RANSOM

A SECOND LOOK : WOMEN PHOTOGRAPHERS

FROM THE COLLECTIONS OF THE HARRY
RANSOM CENTER

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.

Studio Ringl & Pie Berlin 1928-1933 is a retrospective of the work

of Ellen Auerbach and Grete Stern. Both women studied under the
i/lustrious Bauhaus professor Walter Peterhan s. Although it was
unusual at the time for women to open a studio. in 1930 Auerbach
and Stern did so. using their nicknames. Ringl and Pit. The lesson of
light and the Bauhaus mission of bringing modern art photography
to a commercial studio was fulfi/led. In comparison to their innovative
work. commercia l photography of that day looked /lat and contrived.
Ringl & Pit's photography has enjoyed rediscovery since 1978. This
exhibit is presented courtesy of Robert Mann Gallery. New York.

158

GOETHE I N s r I T u r .

P I NGl

PI'

Hat &GIOW1. 193 1

GER MAN

CULTURAL

C[N r ER

W INIFREO CASSON

Ln MajllJ
c. 1936

159

'un

Pon,

or

HOUSTON

NATIONSBANK

FIRE ANO SMOKE :

THE KUWAIT OIL WELL

FUEGO Y HUMO : LOS INCENDIOS

POZOS PETROLEROS DE KUWAIT

FIRES

At the end of the Persian GulfWar: more than 700 of Kuwait's

oil wells were on fire or blowing out of control. resulting in the
largest man-made environmental disaster in our history. This event
created visions of the way the world might end. Photographers
found a netherworld where thick smoke changed day into night
and spewing crude oil droplets blackened the desert sand. a
corpse-littered arena where the rain of death and destruction fell
from the most sophisticated war machine then known.
I was sent to Kuwait by ABB Vetco Gray. Inc. to provide technical
support for the fire fighters and to build cap-and-kill equipment.
Whenever I could find the time. I took pictures and questioned the
photojournalists about their work and their methods. In return. I
shared technical information about the oil field.
It was at The Houston Center for Photography's 199 I exhibit of
the work of these photojournalists. The Scorched Earth: Oil Well Fires
in Kuwait. that I met Mike Shellman. He began collecting Kuwait firefighting photographs. works from the photojournalists who worked
in Kuwait: Peter Menzel. an independent from Napa. California:
Stephane Compoint. Sygma Agency. Paris. France: Steve Lehman.
Saba Press. New York. Later he selected images from my photo files
and from David Thompsons. a firefighter with Boots and Coots.
Shellman is a champion of the people who work in the oil field
industry. and his photographic collection acknowledges the
significant contribution made by these workers. Flfe and Smoke: The
Kuwait Oil Well Fires is a testament to the courage and spirit of
those who put an end to this terrible disaster.

EN

LOS

Al final de la Guerra del Golfo. ms de 700 pozos petroleros de

Kuwait estaban incendindose o quemndose sin control. lo que
result el ms grande desastre ecolgico creado por el hombre en la
historia. Este suceso caus visiones de cmo el mundo podra llegar
a un fin. Los fotgrafos encontraron un infierno donde el espeso
humo cambiaba el da en noche y gotas de petrleo crudo
ennegrecan la arena del desierto. Arena llena de muertos donde la
lluvia de la muerte y de la destruccin provena de la mquina de
guerra ms sofisticada conocida en ese tiempo.
Fui enviado a Kuwait por la compa a ABB Vetco Gray. Inc. para
proveer apoyo tcnico a los bomberos y para construir equipo para
protegerse y detener el fuego. Cada vez que tena tiempo. tomaba
fotografas y cuestionaba a los fotoperiodistas sobre su trabajo y sus
mtodos. En retribucin. comparta informacin tcnica sobre los
yacimientos de petrleo.
Durante la exhibicin del trabajo de estos fotoperiodistas La (erra
arrasada: incendios de los pozos petroleros en Kuwa/t. en el Houston
Center for Photography. en 1991. conoc a Mike Shellman. El
comenz a coleccionar fotografas de la lucha contra los incendios
de Kuwait. y obras de los fotoperiodistas que trabajaron en Kuwait:
Peter Menzel. un fotoperiodista independiente de Napa. California:
Stephane Compoint. de la Sygma Agency. Pars. Francia: Steve
Lehman. de la Saba Press. New York. Ms tarde Shellman seleccion
imgenes de mi archivo fotogrfico y de David Thompson. un
bombero que trabaja con Boots and Coots.
Shellman es un hroe para la gente que trabaja en la industria
de los yacimientos de petrleo. y su coleccin fotogrfica reconoce
la importante contribucin hecha por estos trabajadores. Fuego y
humo: Los Incendios en los pozos petroleros de Kuwai es un
testamento al valor y espritu de aqullos que acabaron con este
terrible desastre.

DAvE W llSON

DAvE W llSON

/ 60

NATI O NSBANK

DAV[

WIlSON

MI/K"''' \'(/,1111116
199 1

/61

FOTO ZEUM

MARK DAUGHHETEE : FROM ALASKA /

TABLEAUX VIVANTS

MARK DAUGHHETEE : DE ALASKA

VIVOS

Alaska artist Mark Daughhetee acts as script writer. set designer.

and director as he creates elaborately staged theatrical tableau
photographs that blend myth and metaphor with contemporary
concerns. His work incorporates unlikely juxtapositions of allegoric
archetypes that range from the zany to the searing, from the
profound to the inane and is often delivered with an unsettling
black-comic twist
As the photograph tempts us to believe what we see,
Daughhetee's invented realities exploit photography's unique ability
to be the most literal of media. Painter Paul Gauguin noted more
than one hundred years ago that photography is a wonderful " illusion
of reality." New technologies have underscored that illusion, creating
seamless transitions between what is and what has never been.
Daughhetee's work pushes that uneasy boundary between the real
and imagined and offers the viewer a glimpse of a surreal dreamscape where unlikely events unfold.
Technlcally, the presentation appears nostalgic. The photographs
have a nineteenth-century feel. Like strange relics from a forgotten
archive, the warm earth tones, surface textural manipulations, and
soft, elegant light blend to blunt the focus of time. Conceptually,
however. the work plays on current themes inspired by the rhetoric
of contemporary life in which often anthropomorphized models
bring to focus an eclectic mix of historic and allegoric references.
Some of the photographs draw upon the rich oral history of Pacific
Northwest cultures, infused with art historical references. Realized
as one-act dramas. caught mid-scene. the images portend action
either havlng just preceded or about to ensue. The naked models
underscore the suspension of time, and the masks the models wear
cloak their specific identities to benefit the role that each actor plays.
Mark Daughhetee has exhibited his work widely in Alaska and the
lower forty-elght. In addit ion to numerous private collections, his
photographs are in the collections of the Alaska State Museum, the
Anchorage Museum of H istory and Art, the Alaska Contemporary
Art Bank, the Microsoft Corporate Collection, the Eastman Kodak
Company. and the City of Mesa Collection.

Mark Daughhetee , artista de Alaska, acta como escritor de

guiones, diseador de escenarios y director. cuando crea fotografas
de cuadros teatrales elaboradamente escenificadas que mezclan mito
y metfora con problemas contemporneos. Su trabajo incorpora
yuxtaposiciones improbables de arquetipos alegricos que van desde
lo divertido hasta lo esencial, de lo profundo a lo vaco y se presenta
a menudo con un perturbador sesgo de comedia negra.
Como la fotografa nos tienta a creer en lo que vemos, la nica
habilidad de la fotografa de explotacin de realidades inventadas de
Daughhetee es ser la ms literal del medio. El pintor Paul Gauguin
mencion hace ms de cien aos que la fotografa es una maravillosa
"ilusin de la realidad ." Las nuevas tecnologas han acentuado esta
ilusin, creando tran siciones Interminables entre lo que es y lo que
nunca ha sido. El trabajo de D aughhetee empuja ese Inquietante
lmite entre lo real y lo imaginario y ofrece al observador un atisbo
en un paisaje de sueos surrealistas donde suceden eventos
improbables.
Tcnicamente. la presentacin parece nostlgica. Las fotografas
tienen una apariencia del siglo diecinueve. Como extraas reli quias
de algunos archivos olvidados, los clidos tonos tierra. las
manipulaciones de textura y las suaves y elegantes luces se mezclan
para mitigar el enfoque del tiempo. Sin embargo, conceptualmente.
el trabajo juega con temas actuales inspirados por la retrica de la
vida contempo rnea en la cual modelos antropomorfos enfocan una
mezcla eclctica de refe renCias histricas y alegricas. Algunas de las
fotografas recurren a la rica historia oral de las culturas del Pacfico
Norte, llenas de referenCias a la historia del arte. Realizadas como
dramas de un acto, tomadas a media escena, las imgenes Indican la
aCCin que acaba de pasar o la que va a ocurnr. Los modelos
desnudos subrayan la suspensin del tiempo y las mscaras que usan.
disimulan sus identidades especficas.
Mark Daughhetee ha exhibido su t rabajo en A laska y en los
cuarenta y ocho estados de abajo. Sus fotografas estn en las
colecciones del Alaska State Museum, An chorage Museum of Hlstory
and Art. Alaska Contemporary Art Bank, Microsoft Corporate
Collection, Eastman Kodak Company y City of Mesa Collectlon.
adems de numerosas colecciones privadas.

/62

CUADROS

FOTO ' ZEU M

MARK DAUGHHETEE

Th, Banqutt
1993

/63

LAWNDALE

KO YAHADA
REFLECTED

ART

AND

PERFORMAN C E

KO YAHADA
IDENTITY

I am here in the worl d with all

the people

IDENTIDAD REFLEJADA

Estoy aqu en el mundo con toda

la gente

If I were the only one

Si fuera el nico

Could I still be myself

Podra seguir siendo yo mismo

If nobody se es me as the person

Si nadie me ve como la persona

I am not myself

N o soy yo m ismo

I am not here

N o estoy aqu

There is someone who knows me There

Hay alguien que me conoce Hay

someone who looks at me So I can

alguien que me mira Para que

15

hve on the gaze between me and

pueda vivir en la mirada entre

the person

yo y la persona
Ko Yamada

Ko Yamada, born and raised in N agoya,

Japan, received a Master of Fine A rts in
Photography from O hio University. H e 15
Interested in understanding his personal
boundanes to reconstruct his basis of
exis ten ce. He belleves photography is the
most effectlve method for capturing
psychol ogical relationshi ps, intentionally or
unintentiona liy, as a physical record.
Because of his distinct cu lt ural per spective, his works are also understood as
recogni ti ons of cultural an d racial
boundaries in this society. Ko Yamada
currently hves In Houston, Texas.

Ko Yamada

Ko Yamada, naci y creci en N agoya,

Japn; recibi una maestra en fotografa
de la Universi dad de O hio. Est
Interesado en com prender sus lmites
personales para reconstru ir sus bases de
existencia. Cree que la fotografa es el
mtodo ms efectivo para capturar las
relac iones psicolgicas, con o sin
intencin, co mo un registro fsico. Debido
a su peculiar perspectiva cu ltural. sus
trabajos son tambin entend idos como
reconocim ientos de los lmites cu lturales
y raciales en esta sociedad. Ko Yamada
vive actualmen te en Houston, Tejas.

/ 64

C ENIER

lAWNDAlE

ART

AND

PERFORMANCE

KO YAMAOA

/ 65

CENTER

GALVESTO N

WHERE

HAVE YOU

GONE , JOE

ARTS

DIMAGGIO ?

CE NTER

ADONDE

In cooperatlon with the 1994 fall lecture series at Galveston

College, "Baseball and the Meaning of America," this exhibition
presents images of baseball from private collections and from the
permanent collection ofThe Museum of Fine Arts, Houston. The
photographs range from Imogen Cunningham's 1924 Gryff m
COlcher's Mosk to Bill Thomas's 1992 self portrait. Bosebolls ond
Pitching M ochines (from the Suicide Series). Other photograph s
include a still life with baseball book by Jed Devine, Mike Mandel's
Baseball-PhotographerTrading Cards, Rick Williams' Girls So(tboll
Gome, Albony, Texas, an action shot of a Royals-Yankees game by
Danielle Weil, and a narrative by Vernon Flsher. A lso included are
portraits of fans and stadiums from Ebbet's Field to Comiskey Park
and Veteran's Stadium, Philadelphia, by Lou Bernstein, Jim Dow,Tom
Harney, and Stephen Shore and portraits of baseball greats such as
Jim "Catfish" Hunter. Billy Martin, and Tom Seaver by Neil Selkirk,
Stephen Shore, and Alex Traube.

HAS

IDO, JOE

DIMAGGIO?

En cooperacin con la serie de conferenCias del otoo de 1994

en Galveston College, "El bisbol y el significado de Norteamnca:'
esta exhibicin presenta imgenes de bisbol provenientes de
colecCiones privadas y de la coleccin permanente del Museum of
Fine Arts en Houston. Las fotografas varan desde Gryff m COlcher's
Mosk, 1924 de Imogen Cunningham hasta el autorretrato de Bill
Thomas Bosebolls ond Pltching Mochines, 1992 (de la serie SUIcide).
Otras fotografas incluyen una naturaleza muerta con un libro de
bisbol de Jed Devine, Boseboll-Photogropher Trodmg Cords de Mike
Mande!. GlrlS Softboll Gome, Albony. Texas de Rlck W illiams, unas
tomas en accin de un Juego de Royals vs. Yankees de Danlelle Weil
y una narrativa de Vernon Flsher. Tambin se Incluyen retratos de
aficionados y estadios desde Ebbet's Field hasta Comiskey Park y
Veteran's Stadium en Philadelphia por los fotgrafos Lou Bernsteln,
Jim Dow,Tom H arney y Stephen Shore y retratos de los grandes del
bisbol como Jim "Catfish" Hunter. Billy Martln y Tom Seaver
tomados por Neil Selkirk, Stephen Shore y Alex Traube.

BILL THOMAS

Bastballs alld l'irrlJillg

M(/{'hnn /rom nu
S U I CID~ S~R"';

1992

/ 66

GALVESTO N

IN

MY

FATHER'S

SWEETEST

ARTS

DREAMS

EN

As a companion exhibition to Where Hove You Gone,joe

a photographic essay on Boys' and Girls' Youth League baseball.
These photographs document the players and families ofteams in
the Youth Leagues of Houston and Bellaire, Texas, over several
seasons of play.

GEO F F W INNINGHAM

Un,ided
,he se ries IN M v

LOS

MAS

DULCES SUEOS

DE

MI

PADRE

Conjuntamente con la exhibicin Adnde has ido,joe DiMoggio?,

el profesor de Rice University, GeoffWinningham, ha creado un
ensayo fotogrfico sobre las Ligas Juveniles de Bisbol de nios y
nias. Estas fotografas documentan los jugadores y sus famil ias en la
Ligas Juveniles de Houston y Bellaire en Tejas durante varias
temporadas de juego.

DIMoggio?, Rice University professor GeoffWinningham has created

From

C ENT ER

FATHER' SWEETEST DR EAMS

1994

/ 67

RI C E

FACTS ANO FABLES

PHOTOGRAPHER

BY

LUIS

MEDIA

MEOINA,

CE N TER

HECHOS Y

FABULAS

DE

LUIS

MEOINA

Luis Medina admiraba al poeta francs del siglo pasado. Paul

Valry. quien crea filosficamente que comprender las
consecuencias de una eleccin era realmente ser un genio. A l
buscar la fuente de la eleccin. un arti sta debe enfatizar la
experiencia. la irracionalidad o los signos externos y los eventos.
Como fotgrafo. Medina favoreca esto ltimo. creyendo que lo
que el mundo tramaba frente a l era tan fantstico como lo que
su propia imaginacin poda escenificar. Tena. lo que el poeta
alemn Johann Wolfgang von Goethe apreciaba: una imaginacin
por la rea lidad.
Medina no comenz su carrera fotografi ando bandas y graffitl.
sino las realidades ms mundanas de la cultura estadounidense: los
festivales de barrio. la vida en los pueblos pequeos. los anunCios
exteriores. y la gente en la calle. En esta bsqueda. trabajaba con
un socio. Jos Lpez. a quien conoca desde su infancia en la
Habana y con quien fue al School of the Art Institute of Chlcago.
En 1977. despus de una dcada juntos. Lpez regres con su
familia a Miami. y Medina se qued solo para descubrir tema s
menos pblicos. como los rituales de la Santera. religin popular
afro-cubana. o las travesuras de una banda de motocicl istas en la
calle Clark. Incluso en las fotografas de Medina sobre la hierba.
ve mos su identificacin con la lucha por la existencia en un
ambiente extrao y adverso. Al rehusar juzgar a sus sujetos en un
tono moralizante se liber a s mismo y a nosotros para verlos
como hechos. as como personajes de fbulas que pueden
emocionarnos y causar que nuest ras mentes los examinen en la
manera en que queramos.
En 1985. Luis Medina muri de una infeccin de cytomegalovlrus.
una rara enfer medad neurolgica. y su osada y ascendente carrera
fotogrfica termin repentinamente.
Esta exhibicin fue organizada por The Art Institute of Chicago
con unas impresi ones que Medina tena para exhibicin. La
exhibicin y el catlogo que la acompaan no seran posibles sin la
cooperacin de los padres de Medina. Orestes y Oiga Bohorques.
de Jos Lamas de WSNS Chicago. Peter Shedd Reed. Kathleen
Lamb. Ricardo Pau-Llosa. Jorge y Martha Schneider. Harold Allen.
los donadores al Luis Medina Memorial Fund. y los miembros del
Photo Circle of Chicago.

Luis Medina admired the turn-of-the-century French poet Paul

Valry. who philosophically bel ieved that grasping the consequences
of choice is what genius really was. In seeking a source of choices.
an artist may emphasize experience. irrationality. or external signs
and events. As a photographer. Medina favored the last. believing
that what the world concocted in front of him was as fantastic as
anything his own imagination might stage. He had what the German
poet Johann Wolfgang von Goethe prized: an imagination for reality.
Medina did not begin his career by photographing gangs and
graffiti. but rather the more mundane real ities of American culture:
neighborhood festivals. small-town life. outdoor advertisements.
and people on the street. In this pursuit. he worked with a partner.
Jos Lpez. whom he had known from his boyhood in Havana and
with whom he had attended the School of the Art Institute of
Chicago. In 1977. after almost a decade togethel~ Lpez returned
to his family in Miami. and Medina was on his own in discovering
less-public subjects. such as the rituals of the African/Cuban folk
religion of Santera or the antics of a motorcycle gang on North
Clark Street. Even in Medina's photographs of weeds. we see his
identification with the struggle for existence in a foreign or
adversarial environment. By refusing to judge any of his subjects on
moral grounds. he freed himself and us to see them as facts as well
as fable-like characters that can move our emotions and cause our
minds to ponder them in whatever way we might choose.
In 1985. Luis Medina died of a cytomegalovirus infection. arare
neurological disease. and his daring and ascending photographic
career came to a sudden end.
The present exhibition was organized by The Art Institute of
Chicago from prints Medina intended for exhibition.This exhibition
and accompanying catalogue would not have been possible without
the cooperation of Medina's parents. Orestes and O iga Bohorques:
Jos Lamas ofWSNS Chicago: Peter Shedd Reed: Kathleen Lamb:
Ricardo Pau-Llosa: Jorge and Martha Schneider: Harold Allen:
donors to the Luis Medina Memorial Fund: and members of the
Photo Circle of Chicago.
D AVID T RAVIS
C URATOR

D AVID T RAVIS
C URADOR

/68

RICE MEDIA CENTER

LU I S MEDINA

Som o[llu D,vil

Chicago. 1978

/69

HCUSTON

CE NTER

FOR

PHOTOGRAPHY

PICTURING ASIA AMERICA :

RETRATANDO ASIA - AMERICA :

COMMUNITIES , CULTURE,

COMUNIDADES , CULTURA , DIFERENCIA

DIFFERENCE

This exhibition of photography, digital imagery, mixed media

installations, and artists' books features the work of seventeen midcaree!" and emerging Asian American artists.
The diversity of the cultural backgrounds of these artists
Uapanese, Hawaiian, Indian, Filipino, Korean, and Vietnamese)
challenges the notion of a homogeneous Asian American identity,
acknowledging that within these groups, experience is neither one
nor the same. The artists include: Tomie Arai (New York, NY); Gaye
Chan (Kailua, HI) ; Allan deSouza (Los Angeles, CA); Gavin Flint (San
FranCIsco, CA); Marlon Fuentes (Philadelphia, PA); Nguyen Tan
Hoang (San Francisco, CA); Dorothy Imagire (Manchester. CT);
Hyung Su Kim (South Pasadena, CA); An-My Le (New York, NY);
D inh Le (Boston, MA);Yong Soon Min (San Francisco, CA); Osamu
James Nakagawa (Houston, TX): Paul Pfeiffer (New York, NY); Hanh
Thi Pham (Glendora, CA); Diane Tani (San Francisco, CA); Ritsko
Uchida (New York, NY); and Jin-me Yoon (Vancouver. Canada) .
The unifying theme of Picturing Asia America is the artists'
concerns with issues of identity in relation to culture, gender. and
race.The exhibition explores the myth that an essential "Asian-ness"
exists in work by Asian American artists- an identifiable or named
quality that certifies its inclusion in ethnic-specific exhibitions.To say
that there is a common methodology among Asian American artists
eradicates the individual merits of Asian American artists' works and
the diversity in their various cultural backgrounds.
M ONICA C HAU

La exhibicin de fotografa, imgenes digitales, InstalaCiones de

medios mixtos y libros de artistas, presenta el trabajo de dieCisiete
artistas asitico-americanos que estn a mitad de su carrera o que
comienzan.
La diversidad de antecedentes culturales de estos artistas
Gaponeses, hawaianos, hindes, filipinos, coreanos y vietnamitas)
desafa la nocin de una identidad homognea aSitico-americana, al
reconocer que dentro de estos grupos, la experiencia no es una ni
la misma. Los artistas son:Tomie Arai (Nueva York, NY); Gaye Chan
(Kailua, HI); Allan deSouza (Los Angeles, CA); Gavln Flint (San
Francisco, CA); Marlon Fuentes (Filadelfia, PA); Nguyen Tan Hoang
(San Francisco, CA); Dorothy Imagire (Manchester. CT); Hyung Su
Kim (Pasadena, CA); An-My Le (Nueva York, NY); Dlnh Le (Boston,
MA);Yong Soon Min (San Francisco, CA); Osamu James Nakagawa
(Houston, TX); Paul Pfeiffer (Nueva York, NY); Hanh Thl Pham
(Glendora, CA); D iane Tani (San Francisco, CA); Rltsko Uch,da
(Nueva York, NY); y Jin-me Yoon (Vancouver. Canad).
El sujeto unificador de Retratando ASlo-Amrlco son las
preocupaciones de los artistas con los temas de identidad en
relacin a la cultura, gnero y raza. La exhibicin explora el mito de
que una "asia -nidad" existe en el trabajo de artistas aSlticoamericanos- una llamada calidad identificable que certifique su
inclusin en las exhibiciones especficamente tnicas. DeCir que hay
una metodologa comn entre los artistas aSitico-americanos borra
los mritos individuales del trabajo de esos artistas y la diversidad
de sus variados antecedentes culturales.
M ONICA C HAU

170

HOUSTON

CE N TER

FOR

OSAMU JAMES

Smokmnck. from ti" DRIVE- I N T

HEATER S ERI ES

PH OTOGRAP H Y

NAKAGAWA

IChimm.a industrial d, 101

11 1

ERI ES D RIVE- IN TH EATRE ).

1994

F I REHOUS E

GAL L ERY

OUT OF THE SKY :

PORTRAITS OF RUSSIAN
ANO AMERICAN PILOTS
OFWWII

DESDE EL CIELO : RETRATOS

DE PILOTAS RUSAS Y
ESTADOUNIDENSES DE LA
SEGUNDA GUERRA MUNDIAL

I travelled to Russia in 1990, 199 I and

Viaj a Rusia en 1990, 199 I Y 1992
1992 interviewing and photographing
entrevistando y fotografiando mujeres
Soviet women who flew combat in
soviticas que combatieron volando en la
World War 11. With the exception of a
Segunda Guerra Mundial. Con la excepcin
few women pilots and crew serving in
de unas pocas mujeres piloto y del personal
mal e regiments, the women, all
de servicio en los regimientos de hombres,
volunteers, were trained in three female
las mujeres, todas voluntarias, eran
Soviet Air Force Regiments, a fighter
entrenadas en tres Regimientos de la
regimento a dive bomber regimento and a
Fuerzas Areas Soviticas para mujeres, un
night bomber regiment. The night
regimiento de combate, un regimiento de
bomber regiment completed the war
aviones de bombardeo y un regimiento de
without a single mal e assigned; all the
bombarderos nocturnos, El regimiento de
ground personnel, including mechanics,
bombarderos nocturnos termin la guerra
were female,The other two regiments
sin que un solo hombre le fuera asignado;
had some males assigned,The fact that at
todo el personal de tierra, incluyendo los
least thirty-four of these women were
mecnicos, eran mujeres, Los otros dos
awarded their nation's highest honor,
regimientos tuvieron algunos hombres
Hero of the Soviet Union, attests to their
asignados, El hecho de que al menos treinta
bravery in combat,They were assigned
y cuatro de estas mujeres recibieron el
the same missions as their male
honor ms grande de la nacin, Hroe de la
counterparts and took leave only when
Unin Sovitica, afirma su valenta en el
ANNE NOGGLE
they were wounded, Some twenty
combate, Se les asignaban las mismas
Nad,zhda Popova - Pilot, 46th Air Guard Regimmt, Soviet Army
percent of all flight personnel were killed,
misiones que a sus compaeros hombres y
Airforce WWI, Hero o[ the Soviet Union
In the United States during WWII,
solo se retiraban cuando eran heridas, Un
Desde el cielo: retratos de pilotos rusos y estadounidense
de la Segunda Guerra Mundial
women were trained as Women Airforce
veinte por ciento de todo el personal muri
/m
Service Pilots (WASP), at Avenger Field
en combate,
in Sweetwater, Texas, and 1074 served as non-combatant pilots, flying
En los Estados Unidos durante la Segunda Guerra Mundial, las
all the military aircraft used by the United States Air Force in the war,
mujeres eran entrenadas como Women Airforce Service Pilots (WASP)
including the largest bombero the B-29, and all the fighter aircraft,
en Avenger Field en Sweetwater, Tejas, 1074 de ellas sirvieron como
ferrying them in the States, towing targets for gunnery and other
pilotos no combatientes, piloteando todo el equipo militar areo usado
missions, to free their male counterparts for combat. Thirty-eight
por la Fuerza Area de los Estados Unidos en la guerra, incluyendo el
WASP were killed in the line of duty. We are considered to be the
bombardero ms grande, el B-29, y todos los aviones de guerra,
first wcimen military pilots in our country,
transportndolos a los Estados Unidos, remolcando objetivos para
Texas A & M University Press published For God, Country, and the
artillera y otras misiones para liberar a sus compaeros hombres para el
Thrill o( le Women Air(orce Ser vice Pilots in WWII, 1990, and will publish
combate,Treinta y ocho murieron en la lnea del fuego, Estamos
A Dance with Death: Personal Memoirs o( Soviet Airwomen in WWII,
consideradas como las primeras pilotos militares mujeres en nuestro
autumn 1994, In this exhibition, I am pleased to show photographs
pas,
Soviet and American women pilots of WWII togethe~
Texas A&M University Press public For God, Country, and the Thrill o(
le Women Air(orce Service Pilots in WWII, en 1990, y A Dance with Death:
A N N E N OGGLE
Personal Memoirs o( Soviet Airwomen in WWII, en el otoo de 1994,
ANN E N OGGLE

/ 72

C H ILD REN ' S

FESTIVALS

OF

LIGHT

1994

MUSEUM

FESTIVAL

DE

LUCES

1994

Los trabajos de ms de 700 nios llenan la Edword Rudge AI/en,jr.

Insplfotlons Gol/ery. La luz, capturada por la ciencia y expandida al
realmo de la magia por las culturas del globo, es el tema de esta
exhibicin creada por estudiantes de la escuelas de secundarla y
preparatoria Jersey Village. Las celebraciones culturales representadas en este segunda presentacin anual de los festivales de
invierno, incluyen Diwali en la India, Loi Krathong en Tailandia,
Chanukah, Las Posadas, Solsticio de Invierno, N avidad y Kwanzaa.
Los estudiantes de fotografa avanzada del maestro Mike N ebel
de la escuela preparatoria Jersey Village, introdujeron el arte del
cianotipo a todos los estudiantes de secundarla. Los estudiantes
de ambas escuelas aadieron Imgenes de sus propias celebraciones
de Invierno e Ideas sobre la luz para complementar las Imgenes
Inspiradas por otras culturas. Actividades interactivas de luz
complementan la exhibiCin.

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

My photographs deal wlth the rellglous. mythlc. and folklorlc

overtones found In everyday existence. The Images I find most
satlsfylng are the ones that are externally obJectlve but internally
boundless. Images that seem to dance in the spaces behind reality. I
grew up to believe in the coexistence of visible and occult worlds.
When I am working. I don't think much about current critical art
issues. What I do think about are the murky. indecipherable affairs of
the human heart. I am in love with the poetry of the human spirit.
and poetry. as TS. Eliot wrote. "must always successfully resist
intelligence."
KEI I II

GALLE R Y

KEITH

CARTER

MIs fotografas tienen que ver con la religin . lo mtico y las

alusiones al folclore que se hallan en la vida diaria. Las Imgenes que
encuentro ms satisfactorias son las que en el exterior son obJetl as
pero en el Interior son Infinitas. Imgenes que parecen danzar en lo s
espacios detrs de la realidad . Crec creyendo en la coexistenCia de
los mundos visibles y ocultos.
Cuando estoy trabajando no pienso mucho en temas artstiCOS de
actualidad. Ms bien reflexiono sobre los sombros e IndesCifrables
asuntos del corazn humano. Estoy enamorado de la poesa del
espritu humano. y la poesa. cono dijo TS. Ellot. "siempre debe
resistir exitosamente a la Inteligencia."

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 HE G ALlERY AT THE ART IN STlTUTE

OF H OUSTON

Arrhur Tress: Fish Tank Sonata

1900 Yorktown, 623-2040

T H E H EIGHTS GAllERY

Honky-Tonk, Part 111. Photographs

by Tracy Han

1438 Herkimer at 15th, 868-9606

October 21 -January 31, 1995

1953 Montrose. 523-9530

November 4-25

H OUSTON C O MM U N ITY C OllEGE

Janna Fulbnght: Hunters & Hea/ers

3517 Austin
November 21-February 13, 1995

H OUSTON

Robert He/m, /98/ - /993

743-9530
October 2 1-December 18

The Water's Edge: Photogrophs

by Sol/y Gol/

242 1 Bissonnet. 523-0701

November 15
B RENT G AllERY

Debra Sugerman and Amber Eag/e

1 1 10 W inbern. 522-5013
November 19-December 3 1

1 Herman Circle, 639-4600

Novem be r 21-February 13. 1995
y OUENS

G AllERY

John Paul Caponigro

31 15 D'Amico. 527-0303
November 10-30

Giles Lyon, Recent Works, and

Kathy Vargas. Milagros de Corazon

2719 Colquitt. 526-5966

O ctober 22-November 19

Views o( Haly by
Lawrence M cFarland

Hispanic Photographers

1200 Amburn Road,Texas City,

280-3991
November 9-December 6

November 12-30

Paradoxicol Sco/e

5101 Montrose, 639-7500

November 4-December 22

CAFE O N TH E G REE N

John Herrin
4 Riverway
R O BIN SON G AllER IES

Ecuador. A Travs de los Ojos

de Tejos

3514 Lake Street. 526-0761

November 12-30

Bil/ Frozier: Maquettes

233 Westheimer. 526-6461

November 15- 30
SAN JA CI N TO C ENTER FOR
PH O TOG RA PH Y

2707 Colquitt, 526-1550

P6r trot ': The Tel/ing Work o( Local

G lASSEll S CHOOl OF A RT

2639 Colquitt. 520-7053

November 12-December 12

SAllY SPROUT G AllERY

L YN N G OOOE G AllERY

M AlOO N ADO C ONSU LTING

C OllEGE OF THE M AINlAND

Micho/ Rovner

Abstractions in Landscape:

British Gas Wildli(e Photographer

o(the Year

JUOY
B RAZOS B OOKSTORE

2815 Colquitt. 526-991 1

November 12-December 3

O MNI H O U STO N H OTEL,

H OUSTON M USEU M OF N ATURAL
S CIENCE

B lAFFER G AllERY, U NIVERSITY OF

MANUAL

N EW G AlL ERY

A RT L EAGUE OF H OUSTO N

Natural Color: Photographs

by John McGery,
James E. Postor and
Sandro Skrobanek

M O O DY G A l lERY

Pasadena Photography Club

1 10 South Main Street. Pasadena

944-9540
November 14-December 3 1
T EXAS C EN TER FO R P HOTOGRAPHY

T HE M EN ll C OllEC Tl ON

Henri Cartier-Bresson:
Photogrophs o( Houston, I 957

1515 Sul Ross. 525-9400

November 10-December 1 1

Tom M il/ea: Recent Photogrophs

416 West Main.Tomball.
342-0297
November 5-December 4
W IERZBOWSKI G AllE RY

M EREDITH L ONG

&

C OMPANY

Mike Stude

2323 San Felipe, 523-667 1

November 10-30
/ 75

Luminism: Sources o( Light

1431 West Alaba ma, 523- 1714

November 9-December 17

GALLERY AND ART

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

T HE CHILDREN'S MUSEUM OF H OUSTON

1500 Binz. 522- 1 138

Terri Cummings and Children:
Addressing the Unknown

Photographic Col/ection

GALVESTON A RTS CENTER

Re: Framing the PastTexas Women Photographers
2127 Strand. Galveston.

409-763-2403
COMMUNITY A RTlSTS' COLLECTIVE

A RCHWAY GALLERY

2013 West Gray. 522-2409

Outdoor Photography

1501 Elgin. 523- 1616

Pat Ward Wil/iams: I Remember
ItWel/

GLASSELL SCH OOL OF A RT

5 101 Montrose. 639-7500

Core Program Artists:
Mu/ti-Media Group Exhibition

by Wil/iam Bowen
CONTEMPORARY A RTS MUSEUM
ART LEAGUE OF HOUSTON

1953 Montrose . 523-9530

A Few Texas Photographers
ARTABLES WITH BENTELERMORGAN GALLERIES

2625 Colquitt. 528-0405

Carolyn Brown: Ancient Wor/ds
Robert B. Langham 1/1: Black(ork
BARNES- BLACKMAN GALLERY

150 1 Elgin at LaBranch. 520-0059

Family Focus: Jonathan Garrett,
Earlie Hudnal/.Jeffery St Mary.
Karen Sanders
BUTERA'S D ElI-MONTROSE
Westside Art Studios
4621 Montrose. 650-08 15
Chris Luke: Out o(Town: In Focus
H IRAM BUTLER GALLERY

4520 Blossom. 863-7097

19th and 20th Century
Photographers:
Botanical Studies

5216 Montrose. 526-0773

Robert Cumming: Cone o(Vision
D AVIS/M c CLAIN GALLERY

2627 Colquitt. 520-9200

Robert Ziebel/: Litt/e Secrets
DIVE RSEW ORKS

1 1 17 East Freeway. 223-8346

Portraits o( Community: A(rican
American Photography in Texas
FIREHOUSE GALLERY
HOUSTON W OMEN'S CAUCUS FOR A RT

1413 Westheimer, 520-7840

Women and the Representation
o(Aging
FOTOFEST. RICHMOND H ALL.
THE MENIL COLLECTlON

1416 Richmond. 840-971 1

The New Generation: Contemporary
Photography (rom Cuba
FOTO FEST. INNOVA D ESIGN C ENTER

20 Greenway Plaza. Ste. 368.

840-9711
Friends o( FotoFest Col/ecUon and
Images from Latin America

/ 76

GOETHE- INSTITUT . GERMAN CULTURAL

C ENTER OF H OUSTON

3 120 Southwest Freeway. # 100.

528-2787
Nina: Portraits by Her/inde Koe/bl
LYNN GOODE GALLERY

27 19 Colquitt. 526-5966
Duane M ichals: Paris Stories
Fannie Tapper. M ixed Motives
GREMILlION & Co . FINE A RT

2501 Sunset. 522-2701

GeoffWinningham: Recent Work
H ARRIS GALLERY

1 100 Bissonnet. 522-91 16

Peter Brown and George Krause
H OOKS- EpSTEIN GALLERY

2631 Colquitt. 522-0718

Elena Cusi Wortham &
Elena F. Wortham
HOUSTON CENTER FOR PHOTOGRAPHY

1441 West Alabama. 529-4755

The Visual Diary:
Woman 's Own Stories

GALL ER Y

H OUSTON P OTTERS G UILD AND S HOP

2433 Rice. 528-7687

M ane Theresa Hernandez:
Women in Relationship
Carol Vuchetich: Photographs o{ me
Hester House Projea

AND

ART

SPACE

EXHIBITS

M ILLlOUD G ALLERY

404 1 Richmond, Suite 101.

621 -3330
From Realism to Abstraction, Nudes,

Underwater Li{e
M OODY G ALL ERY

INMAN G ALLERY

I I 14 BarkdulI . 529 -9676

Amy Blakemore and Jane Hinton

C.

2815 Colquitt, 526-991 1

Stories, group exhibition including
MANUAL (Ed H ill &
Suzanne Bloom)

SAN JACINTO C OlLEGE S OUTH

13735 Beamer Road,

Student Center. 922-3418
Foto Houston 1994.
juried exhibition
S EWALL A RT G ALLERY. R ICE U NIVERSITY

6 100 South Main. 527-6069

Four M aster Photographers: Bravo.
Doisneau, Erwltt and Kertsz
Cynmia Leigh-Nussenblatt Ruins

G. j UNG C ENTER

5200 Montrose. 524 -8253

M arie Fay Evnochides. James
Nakagawa. GeoffWmningham
R OBERT

1.

K AHN G ALLERY

1500 Sunset, 529 -5771

Photographs {rom me Robert l .

Kahn Collection

M USEUM OF F INE A RTS , H OUSTO N

1001 Bissonnet, 639-7300

Jose{ Sudek Photographs
The Alan Chasanoff Photographic
Collection: Tradition and
the Unpredictoble
N EW G AllERY

2639 Colquitt, 520-7053

K IRBY G ALLERY

New Women In Photography

w ith John Clear y Photography

5016 Kirby, 520-5422

George Hurrelf's Hollywood

P ARKERSO N G ALLERY

3510 Lake, 524-4945

David Tack: Impressions o{ Spain

L A S TRADA R ESTAURANT

322 Westheimer. 523- 10 14

Larry Fagala: Fashion and
Fine Art Photography
L ANNING G AlLERY

&

4409 Blossom, 869- 3888

Portraits o{ Sel{-Taught Artists
SALLY K . R EYN OLDS,

223 Westheimer. 524 -5670

Mark Wade: Recen( Work
L AWNDAlE A RT

R . M . G ALL ERY

P ERFORMAN CE

D EAlER IN FINE A RT

2623 Kipling, 622-5252

George o. Jackson:
Embrujo Mexicano

C ENTER

4912 Main, 528-5858

Laura Letinsky: Intimate Stoges
M c M URTREY G ALLERY

3508 Lake, 523 -8238

R ICE M EDIA C EN TER

2030 University, Entrance #8,

527-4894
Lois Greenfeld: Recen( Dance
Photographs

Keith Carter: The Heaven o{Animals

R OBIN SON G AL LERIE S
j ACK M EIER G ALlERY

2310 Bissonnet, 526-2983

Ferne Koch:

The Deep Soum, Revisited

35 14 Lake, 526-0761
Blair Pittman: My Texas Icons
SALLY S PROU T G ALLERY

12707 Colquitt, 526-6461

Laura Letinsky & Barbara MacNiven

/ 77

U NIVERSITY OF H O USTO N ,
S MALL P ROJECTS G AlLERY

ARA Building, Entrance 18,

743-3001
Bonnie Smith Newman: Computer
Imaged/Photo Silkscreens
U NIVERSITY OF S T. T HOMAS

Jerabeck Center. 2nd Floor

4000 Mt. Vernon, 525-31 16
Faces o{ Sorrow: Agony in me
Former Yugoslavia
W IERZBOWSKI G ALLERY

1431 West Alabama, 523-1714

Oblique Views,John McGary.
April Rapier. Charles Wiese,
Casey Williams
j UDY Y O U ENS 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

FOUR MASTER PHOTOGRAPHERS: BRAVO ,

OOISNEAU, ERWITT, ANO KERTESZ

CUATRO MAESTROS DE LA FOTOGRAFIA :

BRAVO , OOISNEAU, ERWITT y KERTESZ

Sewall Art Galler y. Rice University. presented Four M oster

Photogrophers. March-April. 1994. an exhibition of fifty- seven blackand-white photographs selected from the Rice University Art
Collection.
Although sensuality and death are major themes in the works of
Manuel Alvarez Bravo (b. 1902. Mexico). his most important subject
matter is Mexico- its culture. dreams. and reality. A master of puns.
Bravo frequently gives enigmatic t itles to his photographs to create
images that are both revelatory and obscure.
Robert Doisneau's (b. 1912. France: d. 1994. France) photographs
reveal his interest in and attraction for everyday life. They document
the world t hrough opposites: for example. his images of French
street li fe contrast nature and machinery. youth and age. laughter and
sorrow.
In 19S l . Elliott Elwitt (b. 1928. Pans. France) was drafted Into the
Army. but he continued to take photographs wh ile in Germany and
France. Like Bravo. Erwitt also preferred to create images In black
and white.The photographs in this exhibition were created In the
1950s and 1960s and reveal the idiosyncrasies Erwitt observed in
human events.
Andr Kertsz (b. 1894. Hungary: d. 1985. USA) is primarily
known for his powerful images of distortlons of the female figure.
This exhibition. however. concentrated on his rarely exhlbited
photographs ofWorld War I Hungary and post-World War I Paris.
The photographs of Hungary. taken after he was inducted into the
Austro-Hungarian Army in 1914. emphasize the human aspect of
connict and hardships endured during the time of war.

D e marzo a abril de 1994. Sewall Art Gallery. de la Universidad Rice.

presenta Cuatro maestros de la (otogro(ia. una exhibicin de cincuen a y
si ete fotografas en blanco y negro seleCCionadas de la coleCCin de ar e
de esta Universidad.
Aunque los grandes temas en el trabajO de Manuel Alvarez Bravo
(Mxico 1902) son la sensualidad y la muerte. su sujeto ms importante
es Mxico- su cultura. sus sueos. su realidad. Un maestro de los Juegos
de palabras. Bravo da frecuentemente ttulos enigmticos a sus fotografas
para crear imgenes que son. al mismo tiempo. reveladoras y oscuras.
Las fotografas de Robert Doisneau (FranCia 19 I 2 -1 994) revelan su
inters y atraccin por la vida de todos los das. Estas documentan el
mundo a travs de opuestos: por ejemplo. sus imgenes de la Vida en las
calles de Francia exaltan el contraste entre la naturaleza y las mquinas. la
juventud y la vejez. la risa y la pena.
En 1951 Elliot Erwltt (Pars. Francia 1928) fue reclutado por la A rmada.
pero l continu tomando fotografas mientras estaba en Aleman ia y
FranCia. A l igual que Bravo. Erwltt prefera crear Imgenes en blanco y
negro. Las fotografas en esta exhibicin fueron tomadas en los aos
cincuenta y sesenta y revelan la idiosincrasia que Erwitt observaba en los
eventos humanos.
Andr Kertsz (Hungra I 894. EUA 1985) es conocido pnnClpalmen e
por sus fuertes imgenes distorsionadas de figuras femeninas. Sin
embargo. esta exhibicin se concentra en fotogra fas raramente exhibidas
de Hungn'a durante la Segunda Guerra Mundial y de Pars despus de la
guerra. Las fotografas de Hungra. tomadas despus de que l fu e
reclutado por la fuerzas armadas austro-hngaras en 19 14. enfa Izan el
aspecto humano del conflicto y de las penunas sufridas durante la guerra.

ST[LLA DOBBINS. D IRECTOR

SIHIA D OBBINS. D IREClORA

CURATOR

CURADORA

CYNTHIA LEIGH-NUSSENBLATT:
AMERICAN FLAT

CYNTHIA LEIGH-NUSSENBLATT: LLANURA

AMERICANA

For the past seven years. I have photographed decaying structures

in the heavy vegetation of East Texas and the high desert of Nevada.
These complex. temporal places inspire deep and quiet thought.
w hile t he encroachment of nature creates a feel ing of sacred temples.
These Ruins rep resent man's humbling attempt to interrupt the
timeless. cycl ical nature of experience.

En los ltimos siete aos. he fotografiado estructuras destruidas en la

densa vegetacin del este de Tejas y en el desierto alto de Nevada. Es os
complejOS espacios temporales Inspiran pensamientos profundos y
silenciosos. mientras que la intrusin en la naturaleza crea un sentimiento
de templos sagrados. Estas rUinas representan un intento humilde del
hombre por interrumpir to eterno. la naturaleza eterna y cclica de la
expenencia.

CVNTHIA LEIGH -N uSSE BLATT

GalveSl on arllst Cynthla Lelgh- Nussenblan recelved her Bachelor of Fine Arts from

CVNTHIA L[IGH -N uSSENBLATl

Texas Women's University. Denton. Texa s. In 1984. Amencon Flal was also curated

Arti sta de Galvestan. Cynthla Lelgh-Nussenblatt reCibi su licenCiatura en bellas artes en

la Tela s W omen's Univer sity en Dentan. Telas. en 1984. Stella Dobbins. curadora de

by gallery directol' Stella Dobbins.

L/anura amencona. es tambin la directora de la galera.

/ 78

SEWALL

ART

GALLERY .

RICE

UNIVERS I TY

C YNTHIA LEt G H NUSSENBlAT T

Amtriran Flal. #2. / 992

r
Mon/u)' Paw 151. Trop'z / 968

E L llOT T E RWIT

/ 19

INM A N

JANE

GALLERY

JANE

HINTON

Jane Hinton, a Canadian artist who has worked primarily in

photography since 1985, exhibits new images from an ongoing series
on bridges. Recent t rips through Pennsylvania, Oregon, and
Washington provided opportunities to capture images of bridges
with in rural as well as urban settings. The artist's use of double
frames, (sequential frames of 35mm film printed together) allows an
added perspective and tension, not just a panoramic view. The
photographs function on one level as celebratory documentation of
the monolithic beauty inherent in the bridge structures; there are
strong references to other architectural edifices, especially churches.
An undercurrent of friction exists, however. via the juxtaposition of
the natural world with the constructed spans, provoking a dialogue
about the nature of progress and growth.
AMY

HINTON

Jane Hinton, artista canadiense que ha trabajado en fotografa

desde 1985, presenta imgenes nuevas de una serie en proceso
sobre puentes. Algunos viajes recientes en Pensilvania, Oregon y
Washington le dieron la oportunidad de capturar imgenes de
puentes en reas rurales y urbanas. El uso de cuadros dobles
(cuadros subsecuentes impresos juntos a partir de una pelcula de
35mm) permite una perspectiva y tensin adquirida, y no slo una
visin panormica. Las fotografas funcionan a cierto nivel como una
celebracin documental de la belleza monoltica inherente en las
estructuras de los puentes; hay fuertes referencias a otros edificios
arquitectnicos, especialmente iglesias. Sin embargo, existe una
corriente oculta de tensin, a travs de la yuxtaposicin del mundo
natural con los tramos construidos, provocando un dilogo sobre la
naturaleza del progreso y del crecimiento.

BLAKEMORE
AMY

Amy Blakemore, a Houston artist, exhibits photographs from two

bodies of work. One depicts urban portraits of old people and
children whose nature is partially revealed to the viewer through the
filter of his or her own remembered experience. The images reflect
the artist's interest in the formation of the adult personality as an
amalgam of lived experience and personal fiction, with all the
contradictions inherent in that juxtaposition. The pictures function
both as memory and as projection; the photographs of older people
are a vehicle for projecting fear about aging.
The second series, "Pilgrims and Pilgrimages," includes images
taken while on visits to Lourdes, France , and Fatima, Portugal. These
photographs form part of an investigation into the power of religious
beliefs and how they shape human experience.
Blakemore chooses to shoot with the idiosyncratic " Diana"
camera. The images have an inherent imperfection and lack of detail.
To the artist, this camera is an extension of her ideas; it produces
images that repl icate the selective acts of seeing, imaging, and
remembering.

BLAKEMORE

Amy Blakemore, artista de Houston, exhibe fotografas de dos

series de trabajos; uno sobre retratos urbanos de gente vieja y de
nios cuya naturaleza es parcialmente revelada por el espectador a
travs del filtro de sus propios recuerdos. Las imgenes reflejan el
inters de la artista en la formacin de la personalidad adulta como
una amalgama de la experiencia vivida y la ficcin personal, con
todas las contradicciones inherentes en esa yuxtaposicin. Las
imgenes sirven como memoria y como proyeccin; las fotografas
de gente vieja son un vehculo para proyectar el miedo a envejecer.
La segunda serie, "Peregrinos y peregrinajes" incluye imgenes
tomadas en una visita a Lourdes, Francia y Fatima, Portugal. Estas
fotografas forman parte de una investigacin sobre el poder de las
creencias religiosas y como stas conforman la experiencia humana.
Blakemore escoge tomar fotos con la idiosincrtica cmara
"Diana." Las imgenes tienen una imperfeccin inherente y una falta
de detalles. Para la artista, esta cmara es una extensin de sus ideas;
produce imgenes que duplican los selectivos actos de la mirada, de
la imaginacin y de la memoria.

/80

INMAN

GALLERY

JANE HINTON

S./ah Cruk #3
1994

AMY BlAKEMORE
AMY BLAKEMORE

OUa Woman

Man KiJsing Wax Figur<

1993

1993

/8 /

BETWEEN ITS BIENNIAL FESTIVALS,

FOTOFE T WORKS IN
COLLABORATION WITH A NUMBER
OF THE ART ANO EDUCATION
GROUP

IN HOUSTON TO BRING

THE CITY lMPORTANT

PHOTOGRAPHIC EXHIBITIONS FROM
THE

U.S.

ANO ABROAD.

ENTRE LOS FESTIVALES BIENALES,

FOTOFEST TRABAJA EN
COLABO RACiN CON VA RI OS G RU POS

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

PHOTOGRAPHS BY CONSTANINE MANOS

183

FOTOFEST

AT

THE

MEN IL

The New Generation

CONTEMPORARY PHOTOGRAPHY FROM CUBA
Richmond Hall, Th" Menil CoI"'ctiofl
March 19 - April 17, 1994
RARELY HAS PHOTOGRAPHY

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

Sin ttulo, La H aba na, 1993

IU nt id cd j

/ 87

JUAN CAR LOS ALOM

La ","giimzn d.

/111

smbolo de la serie

O lA DEL R EY N EGRO.

I Th, Shnm. 01n Symbo/ from ,he series

/88

OAY OF THE BLACK

1994
KI NGI

MANUEL PIA
Sin ttulo de la seri e

A VEN IDA

5 1, 1990- 1991

IUntitled from the series 51 sT

/89

A VEN UEI

DUARDO MU OZ
Sin t tul o de la se ri e UN

DIA \1, UN DIA NO.

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

MARTA MAR I A PEREZ

I'ro{fccin

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

,II1J ink on papcr

/92

1l!1f11'11U Oj

CARLOS GARAICOA
Sin titulo de la serie

I NTERIOR H ABANERO - PROYECTOS

1993
[Untitled from the series

H AVANA I NTERIOR - PROJECTS]

193

PEDRO ABASCAL

Sin ttulo de la serie A Nl;F I ES

(Unrided frorn che series

DE LA ~OMURA

SIIAIX)\l1 A N< ;a I,.!, !

/94

RENE PEA
Sin rtulo de la seri e

H AC IA ADENTRO

IUnti rl ed from rhe seri es

1990

195

I NWARO I

JOSE NEY
La H abana, J 990

Sin ttulo de la seri e Los

ROM ANTICOS ANCELES DE LA T IERRA,

[Untitled from the se ries

TH E R OMANTI C AN CELS FROM THE EARTH ]

196

KATIA

GARCIA FAYAT

Sin dtulo de la serie LA BODA

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

IUntitled from the series TII E R OMANTIC

FROM T H E EARTlII

198

A NGELS

HUMBERTO

MAYOL

Sin ttulo de la serie Los

ROMANTI COS ANGELES DE LA TIERRA,

[Un[itled from [he series THE

La Habana, 1992

R OMANTIC ANGELS FROM TH E EARTH ]

/ 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

Milby Senior High School

No vember 29 - December 3, 1993

THE FOTOFEST SPONSORED EXHIBITION

Brion Weil: The AIDS Photographs represents a ground-breaking collaboration between an arts

organization and one of the largest high schools in Texas.

A larmed by news that t he epidemic is now spreading most rapidly among tee ns, specifically among minorit y teens, educators and health
workers from Milby worked with FotoFest to make this exhibition the focal point of a week of activities designed to promote HIV/AIDS
awareness in conjunction with World AI D S Day. D uring the week, every one of Milby's 3600-plus student population toured the exhibition of
Weil's powerful black-and -white photographs.
The images constitute an in-depth portrayal of both the global concerns and the human mission involved in this devastating t ragedy. Weil's
six-year odyssey took him from hospital wards in N ew York and "shooting galleries" in Liverpool, England, to t he gold mines of Sout h A frica
and the streets of Haiti. As an artist and as a volunteer for A IDS service organizations, Weil brings a sensitive and honest perspective to the
AIDS/H IV epidemic and its impacto
To broaden the educational potential of the work, the teachers developed an H IV/AIDS awareness curriculum to use in the English classes.
Also outreach workers, medical authorities, and persons living with A IDS spoke to classes about the impact HIV/AIDS is having on today's
society. One teacher wrote, "1 seem to spend a lot of time tell ing my students about t hings. But what I tell them doesn't have the impact of
what they experience themselves. Br ian Weil brought my students the experience of A IDS:'
JEAN B ARBER, E NGlISH T EACHER, M ILBY H IGH SCHOOL
Thls exhlbltlon was organ,zed by FOloFest and Photographers + Fnends Unlled Agalnst AIDS In New York (Ily In (cnJun Ion wlth Visual AJDS

Brian Weil: Las forografas del SIDA

La exhibicin Brion Weil: Los (otografios del SIDA. patrocinada por FotoFest, representa una colaboracin extraordinaria entre una
organizacin de arte y una de las ms grandes escuelas preparatorias de Tejas.
Alarmados con las noticias de que ahora la epidemia se est diseminando ms rpidamente entre los adolescentes, especialmente entre
adolescentes minoritarios, los maestros y trabajadores sociales de la escuela Milby, trabajaron junto con FotoFest para hacer de esta exhibicin
el punto focal de una semana de actividades diseadas para promover la educacin sobre el virus del SIDA. en conjuncin con el D a Mundial
del SIDA.
Las imgenes constituyen un retrato en profundidad tanto de las preocupaciones globales como de la misi n humana envuelta en est a
tragedia devastadora. La odisea de seis aos de Weillo llev a hospitales de N ueva York y a "shooting galleries" (callejones llenos de
heroinmanos inyectndose) en Liverpool. lnglaterra, hasta las minas de oro en Sudfrica y las calles de Hait. Al serWeil un artista y un
volu ntario en organizaciones de servicio para enfermos de SIDA. da una perspectiva sensible y honesta sobre esta epidemia y su impacto.
Para ampliar el potencial educativo del trabajo, los maestros desarrollaron un plan de estlJdios sobre el virus del SIDA. para ser usado en
las clases de ingls. Tambin trabajadores sociales, autoridades mdicas y enfermos de SIDA hablaron a los alumnos sobre el impacto que el
virus del SIDA tiene en la sociedad de hoy. Durante la semana, cada uno de los ms de 3600 est udiantes de la escuela Milby recorri la
exhibicin de las poderosas fotografas en blanco y negro de Weil. Un maestro escribi "me parece que paso mucho tiempo explicndoles
cosas a mis alumnos. Pero lo que les digo no tiene el impacto de lo que ellos ven por s mismos. Brian Weil trajo a mis estudiantes la
experiencia del SIDA."
JEAN B ARBER , M AESTRA DE INGLES, M ILBY H IGH S CHOOL
Esta exhibiCin fue organizada por FotoFest y Photographers + Fnends Unlted Agamst AJDS. N ueva York en conjuncin con Visual AJOS.

202

BRIAN WEll

ACT UP proust. Washington D.C.. 1989

203

FOTOFEST

A T

T HE

WO R THA M

Four Decades of Mexican History

MEXICAN PHOTOGRAPHY

1905-1945

Shown in the Main Lobby ofthe Wortham Center in conjunction with

the Houston International Festivals "Salute to Mexico. .. April 20-May 2. 1993

ROMUALDO GARCIA-190S-1914 THE PORFIRIO DIAZ ERA

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

AGUSTI N V I CTOR CASASOLA

Sin ttuLo

La Chap"ona

2 05

FOTOFEST

EN

EL

TEATRO

W ORT HAM

Cuatro D cadas de Historia de Mxico: Fotografa Mexicana, 1905-194 5

Exhibido en el vestbulo p rincipal del Teatro Wortham en conjuncin con "Salute to Mexico" del HOllston International Festival
20 de abril-2 de mayo, 1993
ROMUALDO GARCIA-1905-1914 ERA DE PORFIRIO DIAZ

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

ENRIQUE DIAZ- ARCHIVO DIAZ , DELGADO y

GARCIA , 1921-1945 CIUDAD

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~

Main Lobby o[ th~ Wortham Center in conjunction with

th~

Houston Grand Opaa's production o[

Frida. June 3-16, 1993. with an additional ~xhibition at Brazos Bookstor~. May 20-Jun~ 17

DURING HIS LlFETIHE,

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.

Guillermo Kahlo: Fotografas de Mxico Colonial

Exhibido en conjuncin con la produccin de la paa Frida del Houston Grand Opaa
3- 16 d~ junio, 1993, con una ~xhibicin adicional en Brazos Bookstor~. 20 de mayo - 17 t junio.
En vida, Guillermo Kahlo ( 1872- 1941) era reconocido como uno de los maestros de la fotografa en Mxico. En una poca en que las
cmaras fotogrficas ms pequeas eran producidas y la fotografa periodstica se haca popular. Kahlo permaneci siendo un clasicista, un
artfice meticuloso que trabajaba en un estilo clsico formal con grandes placas de negativos de vidrio, en un formato de I I "x 14". La
renombrada artista Frida Kahlo, acreditaba a su padre por haberla introducido al arte. Las fotografas de Kahlo eran reconocidas por su
claridad, su nit idez y los extraordinarios detalles luminosos que los grandes negativos hacan posible.
A pri ncipios del siglo XX, comenz en Mxico un movimiento para recuperar el pasado colonial del pas. Encargada por el gobierno de
Porfirio D az, la magnfica documentacin de Kahlo de la herencia arquitectnica de esta poca se convirti en una parte importante de este
movimiento. Sin las fotografas de Kahlo de los edificios barrocos de los siglos diecisiete y dieciocho, uno de los aspectos ms extraordinarios

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

Porta/ d,/ atrio, "Hmp/o d, Santa MarfaXixi"n, Cho/u'"

{Porta/ o[th, Atrium. "Hmp/, o[Santa Maria Xixit"' , Cho/u"'}
Phol o cou n csy of Fototcca dd INAH . Pachuca. Mcxi co

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(

S/ LVAN A T URZ /O AND PAULO FABBR/. FRO M SCAl A OIVA

SINCE THE LA5T

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

Scala diva: Fotografas de Erio Piccagliani

Mostrada t!Il r/ gran vrstbl//o dr/ Tratro Wortham m conjuncin con las importanus prodllccionrs di' La Traviara y Turandol
Italy" de/ HOlIston Inumational Frstiva/. 18 dr abril-8 de mayo. 1994

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

los ntuales de la noche de InauguraCin. la

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

M"r;a C"lIf1S,jT"", ti" prodl/crion ofC. Sponl;n;s L1 Vesta le, / 954/55

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.

Un portafolio griego: Fotografas de Constantine Manos

Presentada por Galvl'Sfon Renaissanu Foundation en cooperacin con FotoFest en la Artists' Lofi & Gall~ry
4 al 18 di' ftbmo. 1994
Un da estaba cam inando hacia el mar en la costa sur de Creta. Mientras caminaba. ocasionalmente alzando mi cabeza. empec a distinguir
una inusual figura negra en la distancia. Cuando me aproxi maba. camin ms despacio y me mov suavemente sobre las rocas. Senta como
si estuvrera invadiendo una vasta y serena intimidad. que poda ser rota con mi presencia. Contuve la respiracin al acercarme por miedo a
asustar al hombre. Me par a slo unos pies de la figura inclinada. Lentamente sub mi cmara. enfoqu. compuse y apret el botn.
Lentamente l alz la cabeza. me mir con calma y me dijo. buenos das.
Cada fotografa en este portafolio es una experiencia personal y un momento particular del tiempo tanto para el fotgrafo como para el
sujeto. Las personas de estas fotografas viven en pequeos pueblos y en granjas aisladas diseminadas en el campo griego. Casi todos son
gente pobre. pero muy orgullosa y fuertemente definida como individuos. La mayora de los jvenes han partido a buscar trabajO en las
ciudades griegas y a t ierras lejanas. dejando at rs un campo apenas poblado de viejos y nios.
Mi pasaje a travs del campo fue placentero y sin planear. el de un observador amistoso. Mi presencia fue aceptada con una cal idez y
hospitalidad a toda prueba. Con el tiempo aprend que no hay nada ms sagrado para los ca mpesinos griegos que la phifoxenio. que traducida
literalmente significa amistad hacia el extrao.

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

y M .udi Gras! Ga l"l:slo n.

CONSTANTINE MANOS

Watrhing Ih, danrt in Ih, Jquart.

[Mirando la danza in la plaza}
Olympos, KarpolhoJ, Cruia

213

FOTO F E S T

E DUC A TION

Literacy Through Photography

THROUGH THE EYES OF CHILDREN

FOTOFEST'S LITERACY THROUGH PHOTOGRAPHY

(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.

Alfab~tizacin a travs de la fotografa - A travs de los ojos de los nios

El programa Alfabetizacin a travs de la fotografa (LTP. por sus siglas en ingls). coordinado por FotoFest. distribuye anualmente ms de
1000 cmaras. junto con pelculas y el proceso de revelado. en salones de clases del D istnto Independiente de Escuelas de H ouston (HISD. por
sus siglas en ingls) . LTP est basado tanto en el innovador trabajo de la fotgrafa/maestra Wendy Ewald. quien adapt sus mtodos a las
realidades urbanas. en un proyecto organizado por FotoFest en el Museo de los N ios en 1988: cmo en las tcnicas de eScritura creativa
desarrolladas por el poeta y D irector de Educacin de FotoFest. David Brown.
Los estudiantes del cuarto al sptimo grado son entrenados en fotografa y en alfabetizacin visual bsica y despus se les pide que tomen
fotos de ellos mismos. de sus famil ias. comunidades y sueos: as examinan las estructuras y relaciones que son importantes para ellos. Cada
asignacin es discutida en clase y las fotografas son criticadas antes de escribir un ensayo sobre cada uno de los tpicos. Alfabetizacin a travs
2/4

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.

JUAN CARLOS ALOM

M. C. Willinms Midd" Sehool

Sprillg 1994
2 15

LI TE RA CY

THROUGH

PHOTOGRAPHY

What are Dreams Made Of?

DREAHS ARE HADE OF HY HEART.

The dreams of my heart are of love. Some dreams are like

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

De qu estn hechos los sueos?

Los sueos estn hechos de mi corazn. Los sueos de mi corazn son de amor. Algunos
sueos son como tortugas porque van muy despacio. Algunos sueos son como gato s corriendo
porque van rpido. Los sueos de mi corazn huelen como flores. Los sueos como una tortuga
huelen como una playa porque son como tortugas de mar. Los sueos de gatos corriendo huelen
como casas porque los sueos son como de un gato en una casa. Algunos sueos son como el
futuro porque todo es moderno y bonito.
Algunos sueos no son tan grandes como una casa, pero otros s los son. Los colores en los
sueos son blancos o de otros colores plidos. Algunos sueos son de colores brillantes. En
algunos sueos, yo vuelo en el cielo. En otros sueos tengo que gatear. A veces trato de gritar
pero mi voz no sale. Otro sueo que tengo es de ser una maestra muy buena y de ser la nmero
uno.
Mis deseos son como mis sueos porque deseo tener una casa muy grande, y ese es uno de
mis sueos.

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

Celia Alvarez Muoz

Born 1960 in Havana. Cuba. HIS work has been shown In several

Born 1937 In El Paso. Texa s. Currently reSides In Arhnglon. Texa s.

multi-artlSt exhibltlons In Cuba. Mexlco. Germany. Italy and Spain and

Muoz recleved an MFA from N orth Texa s Stale UnlverSlty In 1982.

has been ineluded In pubhcatlons focuSlng on Latln Amencan

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 SWltzerland. ralsed In Hungary. Anduar has hved In Brazll Slnce

and French and American Vogue.

1956. In lhe seventles she began photographlc coverage of he

Yanomaml Indlans lhal Included a photographlc essay In book formo

Adl (Adl Alberto Maldonado)

Yanomaml em Frente do Elemo.

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

Don Gregorio Antn

Rlcan Expeflence (IPRUS Instilule. N ew York. 1984). Fal/mg Eye/lds

Curren tly hves m Arcata. California where he IS A SSlstan Professor at

(Fo to -Graphic Editions. N ew York. 1982). and The EVldence o(Thmgs

H omboldt Slate Unlverslty. Antn's work IS Included In museum

NOl Seen (DaCa po Press. N ew York. 1975).

colleellons Includlng Blbhotheque NatlonalelPans and Consejo

MeXicano do Fotografica/Mexlco.

Laura Aguilar
Currently reSides In Rosemead. California. AgUllar has recelved three

Tomie Arai

An,st in ReSldence grants from the Cahfornla Arts CounClI. Recent

Born In New York Clty. Aral IS a thlrd -generatlon Japanese Amencan.

exhlbll lons inelude Bad GIf/S (The New Museum of Cont emporary

A MacDowell Colony Artl st-ln-ReSldence In 1994. Aral 's work IS

Art. New York. 1994) and Aperto 93: Emergency. pan of La Blennale di

Included In lhe Museum of Modern Art Pnnt Collectlon. Llbrary of

Venez la (Exposizione Internazionale dArt. 1993. Venlce. Italy).

Congress. and W ashington State Ans CommlSSlon. Scaul

W ashlnglon. among o thers.

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

Born 1923 In N ew York. Currently hves and works In N ew York.

Over a Century. Porlralls and /nterVlews (1983). "An Aztec Pn nce." short

A vedon was tralned In photography In lhe Merchant Manne. and la er

story (1986). and "Four D ays:' (1990).

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

where he IS a freelance photographer and ownerldlrector of Gallery

Born 1938 In London. where he currently works. He came In o

Exposures. Recent solo exhlbltlons of hlS work melude Porl(o/Io

promlnence In lhe 19605 as the photographer-hero of the sWlnglng

LOlmoameflcono. a travelling exhlblt lon whlch opened In QUitO.

London scene.

Ecuador. and 40 /mages. in Lima. Peru.

Fred Baldwin
Juan Carlos Alom

A founder o f FotoFest In 1984. Baldwin's work has been pubhshed In

Born 1964 in H avana. Cuba. Alom has worked as a photoournalist for

EsqUlre. Navona/ Geographlc. New York Times. N ewsweek. among many

the publication Abfl/ and as a photographer In Conservation and

others. H IS book. We Am'l Whal We Used To Be. documenlS lhe CIvil

Restoratlon at the Photohbral'y of Cuba. H e has had solo exhlblts m

nghl s movement In Georgla. and he collaborated on a photo senes

Cuba and France. and collecllve exhlblllons m Cuba. Germany and

that was pubhshed In the book Commg lO Terms. The G rmen H,U

Denmark.

Counlry o{Texas (199 1).

Manuel Alvarez Bravo

Max Orlando Baos

Born 1902 in MexlCo. Although sensuahty and dealh are malar themes

Born 1957 In Cuba. he IS a free lance photogr ph r and Industnal

In Bravo's work. hlS most Impor tant subect maner IS Mexlco -

ItS

cul ture. dreams and reahty.

deSlgner. Baoss work was part of an exhlbltlon In Germany called

Cuban Pholography. and In 1993 he had permanent collectlons placed

at the Phol ollbrary of Cuba. Casa de las Amencas. and In a museum In
Germany.

2/8

ARTIS

rs

ANO

CURATORS

BIOS

Neal Barr

Robert Buitrn

Born 1932 In Ventura, California. Barr Studlo Ltd. opened In

Was one of len pholographers nationwide lO be commissloned for

September 1962 speclahzlng In fa shlon and beau ty asslgnments. Some

lhe 1984 Olymplcs Photographlc Commission ProjeCl, Los Angeles,

commemal cI,ents over the past 30 years have been Chnlque,

CA. H e organlzed lhe 1993 Chlconolondlo travellng exhlbltlon, and his

Bloomlngdale's, Bergdorf Goodman, Lord & Taylor. Chnstlan D ,or and

own work has been exhlblled In group and solo exhlblllons In lhe US,

Faberge.

England, West Germany, and Mexico.

Cecil Beaton

Sophie Calle

Born 1904 In London. D,ed 1980. Beaton worked as a fashlon

Born 1953 In France . Calle currently lives and works In Pans. In

photographel: writer. artlst. aClOr. and a stage and costume deslgner

addlllon lO over 20 one-person exhibitions, Calle's film Double B/ind (a

for ballet, opera and theater. Beaton recelved O scars for his costume

collaborallon wlth Gregory shephard) has been screened al lhe

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

Vogue, Cond N ast Publications and Harper's Bazoor.

Festival.

Louis Carlos Bernal

Pablo Camb

D,ed 1993. Worked as an Art and Pho togr aphy Instruct or at Pima

Born Havana, Cuba, Llves currently in Puerto RICo where he 15 lhe

Communlty College, Tucson, Bernal 15 known throughout the Unlted

owner of Pablo Camb sludio In Santurce. H ls work has been

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

Maria Magdalena Campos-Pons

creal lve force behind Elle magazine and has won numerous awards.

Born Malanzas, Cuba, Campos-Pons is an assistanl professor al lhe

Charles Biasiny-Rivera

she 15 presenlly a reClpient o f the Bunting Fellowshlp, Radchff College,

Massachuselts College o f Art. residing in Jamaica Plaln, Massachuselts.

Co- founder and execulive d,,-eClor of En Foco, Ine., a non-profit visual
arls agency in New York, since 1973. Biasiny-Rivera served an

Keith Carter

apprenliceship with Sir Cecil Bea l on from 1960 lo 1964. H e has

Born 1948 in Madison, Wisconsin. Currently lives and l eaches in

served as panehst for N ew York Sl al e CounClI on lhe Arls, Vi sual Arts

Beaumont. Texas. H e has published three books From UncerlOm 10

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

School of Art In Houslon, Texa s. Her work has been exhlblled

Born In Hong Kong, Chan 15 A sslstant Professor of Art al Unlverslly of

eXlenslvely In Texas and olher areas of lhe Unlted Slales as well as

Hawall, Manoa. she wllI have a one-person exhlbltlon at lhe UnlverSll y

an exhlblllon In The Nelherlands showcaslng Texas women

of Nevada, Reno, In 1995. Chan partlcipaled In Llghl W ork's Artlsl -In-

photographers.

Resldence Program In 1993.

Erwin Blumenfeld

Henry Clarke

Born 1887 in Germany. Died 1969 in lhe Uniled Slales. A successfu l

Born in California. Currently resides in France. Clarke studied under

fa shlo n pholographer in lhe 19405 and 19505, Blumenfeld produced

Alexey Brodovich al lhe New school for Social Research, H is fashion

over a hundred color covers for Vogue, H arper's Bozoor, Look,

phologl-aphy has appeared in Kaleldoscope, Femma, Bnlish Harper's

Cosmopo/llQn, and Popular PholOgrophy.

Bazaar. and Amen can, French, and British Vogue, among olhers.

Guy Bourdin

Clifford Coffin

Born In 1935 and dled In 1986, Bourdln was dlscovered by French

Born In Chlcago, IIhnols about 19 16, Coffin recelved hls firSl

Vogue In 1960. Dunng 19605 he d,d work for Charles Jourdan

phologl-aphlc asslgnmenl from Vogue and was senl lo Bnllsh Vogue as a

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

Whl spers" hngene brochure for Bloomlngdale's, whlch has beco me

to do fashlon work on Amencan Vogue.

a collector's Item.

2 19

ARTISTS

ANO

CURATORS

BIOS

Stephane Compoint

Mario Diaz

Currently associat ed at SYGMA, Pans. Compolnt has covered Formula

Born 1950 In H olguin. Cuba. D iaz worked as a photographer for he

1 races. International rallles. the Olymplc games. the Internment camps

MlnlStr y o f Culture from 1979 to 1985 and for the magazine

o f German soldiers. and Orthodox baptlSmal ceremonles In the

RevolUCin y Cultura from 1985 to 1992. H IS work IS part of museum

U.S.5.R.

and pnvate collectlons In Cuba. Mexlco. the Unlted States and

elsewhere.

Arturo Cuenca
Born In Holguin. Cuba. Currently lives and works In New York. Recent

David Diaz Guerrero

personal exhibltlon s Inelude Arturo Cu nca: A Decode o( Photographyl

Presently lives In Roanoke .Vtrglnla. H IS photographs are Ineluded In

1983-/993 (NewYork.1993). and M011;-M arlir 11 (Galena N lna Menocal.

CARA - Chlcano Arts: Reslsrance and AffirmaliOn Exhlbllion. currently

Mexlco City. 199 3).

to unng Int ernatlonally.

Louise Dahl-Wolfe

Robert Doisneau

Born 1895 in San Francisco. California. Her documentary pictures of

Born 19 12 In Fr ance. D ,ed 1994 in France. DOlSneau pho tog,-aphed

Tennessee mountain people and stlll-life sub)ects were a sensation

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

Beglnnlng In 1936. she had a long and productlve career as a fashlon

sorrow.

editor for Harper's Bazaar.

Arthur Elgort
Robert Dawson

Bom 1940 In N ew York Clty. Elgort worked WI h the New York C, y

Currently Chatrperson of the Photography Department. Ctty College

Bal let In the late 1970s. H IS publicatlons Include Arrhur Elgorr's M od I's

of San FrancISco. he IS a landscape photographer who IS commtned In

M anual ( 1994). Swan Pnnce. wlth Mlkhall Baryshnlkov (1987). and

hls work to "shaplng publtc concerns for the envlronment." H is work IS

Arrhur Igorr. Personal Fashlon P,ctures ( 1983).

In the collections o f instltutlons such as The Museum of Modern Art.

N ew York; the N ational Museum o f Amencan Art. Smithsonian

Elliott Erwitt
Born 1928 in Pans. Erwitt captured Germany and France In the 1950s

Museum; and the Museum of Fine Art s. H ouston.

In black and whlte. H e wa s particularly Interested tn the Idlosyncrasles

Jack Dlano

observed In human events.

Born In Klev. RusSla. N ow lives In Rlo Piedras. Puerto RIco. He has

worked. often simultaneously. as photographer. dlreClor o f a natlonal

Gavin Flint

teleVISlon servlce . book des'gner. and composer. Recen t exhibltlons

Born 1959 Agora. Guam. Currently reSides In San FrancIsco. California

Include a one-man show at the 5th B,ennale InternaCional (Vigo. Spaln.

Flint was awarded a Fulbnght Grant In 1985. He has shown at he

1992).

Amen can Center. New Delhl and Tokyo and In group shows In

Untted Sta tes.

Baron Adolf DeMeyer

D led 1946 in Los Angeles. DeMeyer exhlblted hlS plClures at the

Roy Flukinger

London salon of the Linked Rlng ( 1903) and at Stleglltz's "291" Gallery

Roy Fluklnger currentl y serves as Curator o f the Photography. Film and

in N ew York. He published a limlted edilio n of plclures of Diaghilev's

Theatre A rt s Collectlons o f the H arry Ransom Humanllles Research

Ballet Russes (1 9 14). He lal er worked fo r Cond Nas!. Vogue and

Cenl er ofThe Unlversit y ofTexas at Au stin. H e has produced more

Harper's Bazaar.

th an twenty-four exhlbltlons of photographs Includlng Vrs,ones d

Allan deSouza

Bnraln. 1839 1920.

TejanoslVrs,ons o( Texas and The Formallve O codes oPhotowophy

In

Grea

Born 1958 In Natrobl. Kenya. A current resldent of Los Angeles.

California. H IS work and wntlngs have been publlshed In Ecsrauc

Marlon Fuentes

Anllbodles. Crosslng Black Waters. and In Inrerrogatlng Idenmy. a

Born 1954 In Manila. Phllipplnes. Currently reSides In Southern

travelltng exhibition and catalogue sponsored by the Grey Art Gallery.

Cali fornia. A photographer and filmma ker. hls work IS Ineluded In he

public collectl ons o f the Smlthsonlan In Itutlon. Llbrary o f Congress.

NewYork.

and he Corcoran Gallery o f Art. among o th ers.

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

Born In Ponce. Puerto RIco. Currently lives In New York. where he IS

Clty. Her work has appeared In the New Yo,k T,mes Sundoy Mogazme.

Art Director and DeSlgner of Nuevo Luz. a photographlc )ourna/.

M en 's Jouma/. EsqUlre. Ro/llng SlOne. and Trave/ and Lelsure.

Recent exhlbltlons Include Recla,mmg H,slOry. (E) Museo del Barno.

New York) and Photowork '93 (Barren House Gallenes. PoughkeepSle.

Harry Gamboa. Jr.

N ewYork).

Llves In Los Angeles. California. He IS the reclplent o f several

fellowshlps Includlng Natlonal Endowment for the Arts. VISual Artlst

Peter Goin

Fellowshlp. H IS video VIS-A-V,d. won the 1992 Premio Mesqulte for best

He IS the editor of And Waters: Photographs (mm (he Water In th e West

expenmental work. 16th C,nefest,va/.

Pro/ect. H IS work IS part of vanous collectlons. includlng those o f the

Carlos Garaicoa

National Museum of American Art. Smithsonian Museum.

Belnecke Llbrary. Yale UniverSlty. the Library of Congress. and the

Born 1967 in Havana. Cuba. H IS work has been exhlbited since 1989
In collectlve and personal exhlbltlons. and some pieces are Included in

Ricardo Gomez-Perez

a colleellon at the Cuban N atl onal Museum of Fine Art and at a

Born 1952 In Caracas. Venezuela. Currently lives In Spaln. He wa s

tralned at the London College of Printlng and Manchester Polytechnlc.

museum In Germany.

He has had solo exhlbltlons In Canada. Spaln. SWltzerland. Germany.

Romualdo Garca

and the N etherlands.

Born 1852 In Sllao. Guanauato. MexlCo. Dled In 1930. From 1878

untd 1914. Garca was the foremost photographer o f all aspects of the

Gory (Rogelio Lopez Marin)

socle y of Guanauato. He was awarded a bronze medal for hlS

Born In Cuba. Currently Ilves In Mlami. Flonda. Hls recent awards

portralts In the Pans exhlbltlon of 1889.

Include Premio en el Salon NaCional de la Unlon de ESCrItores y

Kattia Garca Fayat

exhlbltlons In Cuba. the Umted States. Europe. and latin Amenca.

A,t,stas de Cuba (199 1). H ,s work has been Included In numerous

Born 1961 In Havana. Cuba. GarCla Fayat worked as a photographer
at the Centro Nacional de Conservacin. Restauracin y Museologia

Catalina Govea

In H avana and as a speciallst at th e Photolibrary of Cuba. H er work

Born 1952 in Bakersfie ld. California. Currently lives in Oakland.

has been dlsplayed In exhibltlons In vanous coun tn es Includlng Spain.

California. Self-taught In photography. she received a degree in nUl'slng

Brazll. Italy and Germany and IS part of several permanent collectlons.

from Mernt College In Oakland.

Nereida Garca-Ferraz

Ingo Gnther

Born In Havana. Cuba. Currently lives In Chlcago. IllinolS. One-person

H as partlClpated In 49 group and 15 one' person exhlbltlons

exhlbltlons o f her work Include Ded,cado A QUien Sabe Esperar (Deson

throughout Eastern and Western Europe. A SIa. Au stralia. Canada. and

Saunders Gallery. Chlcago. 1992). and Pamllngs and Drawmgs

the U.s. H IS work IS Included In many permanent public collectlons In

(Humanltles Center Gallery. Wabash College. Indiana. (199 1).

Germany. Japan. and the U.s.

Ellen Garvens

Masumi Hayashi

Solo exhlbltlons include the Jayne H . Baum Gallery. N ew York. and

Born 1945 In the G,la River Relocation Camp in Rivers. Arizona.

exhibltlons throughout the country. Includlng Rhode Island. Ohio. N ew

Currently an A ssociate Professor at Cleveland State University,

M exlco and Minnesota. Numerous group exhibitio ns Slnce 1979. Her

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/)

on the book by tha t name.

and FanwSles. Fab/es and Fabnco llons: PholO-works (rom the / 980s.
among others.

Jane Hinton

Ormond Gigli

Taranta. Ontano. Her work has been shown

Born In New York Clty In 1925. H e was a N avy pho tographer dunng

Unlted States and Canada Includlng Inman Gallery's FotoFest '92

WWI /. He began hlS career In fashlon covenng the Pans coll ectlons for

exhlbltl on entltl ed Urban Archae/ogy and Men WI[/1 Round G/asses.

Born In V,ctona, Bntlsh Columbia, Canada. Currently ,-eSldes In

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.

Born Yasuhiro Wakabayashl In Shanghal in 1930. Hlro IIves In New

Born Arthur Kanofsky In 1925 In New York. Kane worked as a layou

York Clty. H e attended th e New School for Social Research and

deslgner at EsqUIfe magazine. and art director al Sevenreen magazine

la ter beca me a member of Alexey Brodovltch's Amen can Institute

before devotlng hlmself entlrely to photography In 1958. Kane's w ork

of Graphic Arts Design Lab. H,,-o worked for H arper's Bazaar from

has appeared In Look. LI(e. EsqUIfe. Vogue. and M cColI's.

1965 to 1975.

Andr Kertsz
Nguyen Tan Hoang

Born 1894 In Hungary. D,ed 1985 In the U.s. Kert sz

Currently lives

powerful Images of d,stort,ons of the female figure. the conn,e! and

In

San FrancIsco. California. Hoang's work has been

IS

known for hls

exhlblted at San Francisco Camerawork. UC-Davls. and Bridge Gallery.

hardshlps ofWorld War 1 Hungary. and the IIght-hearted fun found In

and the University of Southern California.

the cafs and caberets of post-World War 1 Pans.

Emile Otto Hoppe

Hyung Su Kim

Born 1878 in Vienna. Austria. Hoppe was a co -founder of the London

Born in Seoul. Korea. Currently lives In os Angeles. California. K,m

Salon of Photography. About 19 16 he began contnbutlng por traits and

recelved an MFA In Photography from the California Instltute of the

fashlon photographs to Vogue ond Vam'Y Fa". and dld fashlon work for

Arts. Hls work IS Included In Across lhe PaCl{ic. a travelllng exhlbltlon

D.H. Evans and the designer LUCllle.

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

MonlCa Musuem o f Art.

Born 1906 in Weissenfelsan-der-Saale. Germany. Currently lives In

NewYork. His work IS documented in PhoLOgraphs o( a Decade ( 1946).

Salule lO lhe Thlrlles ( 1974). Parrerns

In

Narure. and PhoLOgraphed by

William Klein
Born In New York. 1928. Currently IIves In Pans. Kleln worked on

HorsL: Hls Incomparable Record o( lhe World o( Art. Lerrers. Muslc

abstrae! murals wlth Fernand Lger for French and Itallan archl ects.

Fashlon. and SOClery as seen lhrough FlVe Decodes 1930- 1980 (1983).

As a film -maker. he produced documentanes on Muhammed AII and

George Hoyningen-Huene

Model Couple" and "Hollywood. California."

Eldndge Cleavel: as well as writing and dlrectlng films such as "The

Born 1900 in Saint Petersburg (Leningrad). D,ed 1968. H e began
taklng photographs for French Vogue in 1926. In 1946 he taught

Antonin Kratochvil

photography at the Art Center School In H ollywood and was color

Born 1947 Czechoslovakla. Currently reSide s In New York. A freelan ce

consultant to George Cukor on a long senes of films. He produced a

photographer. Kratochvll recelved hlS MFA In photography from Gernt

book of photographs of Greece In 1946. as well as volumes on Egypt

R,etveld Art Academy. Amsterdam. Holland In 1972. Hls awards

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

for Photography journallsm Award (199 1). among others.

Currently resides In Manchester. ConnectlCut. A prafessor of

Photography at Manchester CommuMy College. her numeraus

Jacques Henri Lartigue

exhlbltlons Include the N ew Museum of Contemporary Art. N ew

Born 1894 In France. Lartlgue recelved hlS first camera at age five

York: Long Beach Museum of Art; and th e Addlson Galler y of

fram his father and produced a major body o f work between the ages

American Art. A ndover. Massachusetts.

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

Born 1944 In N ew YOI-k where he currenlly resides. He began hlS

Venezuela. Brazil. Mexlco. and Au stralia.

career al Horp r's Bozaor In the early 1970s shootlng freewheellng

reportage-based fa shlon. wllh a sense of humor.

Guillermo Kahlo
Born 1872

In

Baden-Baden. Germany. D ,ed Apnl 14. 1941 in MexlCo.

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

a portralt photographer. he recelved a commlSSlon from the Treasury

was a Slaff Photographer for lhe Compognons du Devol r. a gudd o f

Secretar y to photographlcally document the Mexlcan monuments

French arllsans Involved In lhe restorallon o f hlsloncal monuments In

fram the colonial era.

F,-ance. She recelved her MFA from Ya le UnlverSlly In 1993.

222

ARTISTS

AND

CURATORS

BIOS

Dinh Le

Constantine Manos

Currently resides in Boston. Massachusetts where he teaches digital

Born 1934 in Columbia. South Carolina. His published books include

photography at the Art Institute of Boston. Le has received numerous

PortrOlt ofA Symphony (1964). A Greek Ponfolio (1972). and BoslOnlons

awards and fellowships. including the DuPont Fellowshlp and Aaron

published in conjunction with the 1974 multi-media presentation

Slsklnd Foundatlon Individual Photographer's Fellowship.

Where 's BoslOn? for which he was the principal photographer.

Steve Lehman

Henri Manuel, Studio Cher-Rousseau & Glauth

Currently a member of SABA Press Photos. Lehman is best known for

and Talbot Studio

hls exclusive coverage of polrtical unrest In Tibet and the 1988 military

Photography studlos. operating in Paris at the turn of the centur y.

takeover In Burma for whlch he won an honorable mention in World

specializing in portraiture. theatrical work. and fashion pi ates.

Press Photos Awards. His photos have appeared in Times. German Geo.
and the Sunday London Times magazine.

Kurt Markus

David Liittschwager

career as a photographer of the West. H is published books include

Born 1947 in Montana where he currently resi des. He began his

Liittschwager is a freelance photographer who grew up in Eugene.

A(ter Barbed Wrre and Buckaroo. He began to photograph fashion in

Oregon and presently lives In San Francisco. HIs photographs have

the mid- 1980s. He has worked for Esquire. M irabel/a. and The New York

appeared In Llfe. Nallonal Geographlc. and the New York Times

Times Magazine.

M agazine .

Mara Martnez-Caas
Peter Lindbergh

Born Havana. Cuba. Currently lives in Miami. Florida. Maria Martinez-

Born 1944 In Germany. Currently Irving in Pans. H e studied painting in

Caas has had numerous solo exhibitions in the United States. France.

Berl in and Krefeld. He is a principal photographer for American and

and Puerto RIco. and her work has been included in many group

French Vogue and has had several museum exhibltlons.

exhibitions both nationally and internationally.

Silvia Lizama

Wayne Maser

Born in 19S 7. Currently lives in Ho llywood. Florida. where she is

Born 1946 in Philadelphia. Pennsylvania. Maser has worked for Vogue.

A ssociate Professor of Art at Barry University. Mlami. Florida. Her

GQ. Vanlty Farr and most Cond N ast publications abroad. He is al so in

work appears in Outside Cuba/Fuera de Cuba (Rutgers University

great demand as a video director with Mariah Carey. Lisa Fisher. John

Publrcatlon. 1989).Test Target Display (Rochester Institute ofTechnology

Mellencamp. and others.

Publicatlon. 1983). among others.

Carlos Mayol
Annie Lpez
Born and resides in Phoenlx. Anzona. Lpez

Born 19S6 in Havana. Cuba. In 1980. with his brother Humberto.

15

a longtlme member of

Mayol founded the newspaper Trrbuna de La Habana. where he st ill

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

was the winner of the 199 3 art blllboard contest in Tuscon.

a part of several exhibitions. both personal and collective. around

the world.

Martina Lpez
Currently resides in Chicago. IIlinois where she is Assistant Professor

Humberto Mayol

of Photography at the University o f N otre Dame in N otre Dame.

Born in 1955 in Havana. Cuba. Currently works for the magazine

Indiana. H er recent awards include the N ational Endowment for the

Bohemia. His work has been displayed in a number of collective and

Arts Vi sual Arts Fellowship (1992-93). IlIinois Arts Council. Artist

personal exhibits and in publications such as Bohemia. Trrbuna de La

Fellowship (1992). and Arts MidwestlNational Endowment for the Arts

Habana. Revolucron y Cultura. Tablas and Cuba Intenacronal.

Regional Visual Arts Fellowship Award. (1991).

Frances McLaughlin-GiII
Martha Madigan

Born and reSides in New York City. After winning the Vogue "Prix

Born In Mllwaukee. Wisconsln. Currently resides In Elkins Park.

de Paris" contes!. she joined the staff of the Cond Nast magazines

Pennsyl vanla. Madigan is the chalrperson. Department of Photography.

as a photographer. In addition to her fashion photography she has

Tyler School of ArtlTemple Universlty. Her work is on permanent

photographed theater personalities and st ill life.

display in many collections. including the Metropolitan Museum of Art.

N ew York; the Phi la del phi a Museum of Art; and the Art Institute of
Chicago.

223

ARTISTS

AND

CURATORS

Luis Medina

BIOS

Susan Middleton

Born 1942 In Cuba. O,ed 1985. Medlna recelved hlS educatlon at the

Born In Seanle. Washington. Mlddle!on IS Chalr of !he California

Art Instltute of Chlcago. Hls ground-breaklng work focu sed on street

Academy of SClences Oepartment of Photography and IS based In San

IIfe In Chicago. The Art Instltute of Chlcago opened an exhibition of

FrancIsco. Her pho!ographs have appeared In books. Journals. and

sixty-five of his photographs In N ovember. 1993.

magaZlnes worldwlde.

Harry Meerson

Nstor Milln

Born 19 11 In Berlln. N ow deceased. Meerson worked as a

Born and Ilves In San Germn. Puerto RIco. Mllln IS aSSls!ant

cameraman as well as photographer. Hls work appeared In L'Album du

professor at the Fine Arts Oepartment of !he Unlversl!y of Puerto

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

San Juan. Puerto Rico. 1994).

Madero Gallery. New York and Ateneo Puertornqueno. San Juan.

has done advertiSlng work for the Gap and Oolce & Gabbana. among
others. He has photographed supermodels and personalltles such as

Yong Soon Min

Madonna. Ineluding her album "Llke a Vu-gln" (1985) and her recent

Born 1953 In Repubilc of Korea. Currently IIves In Los Angeles.

book Sex ( 1992).

Cali fornia. Mln IS Asslstant Professor In Studlo Art at Unlverslty of

California. Irvlne. She IS a reclplent of an NEAN,sual Artlsts Fellowshlp

Frank X. Mendez

In N ew Genre and has partlClpated In numerous residenCies,

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

man and group shows in various museums and gallenes throughout

Born 1947 Tokyo. Ryul"s photos have been dlsplayed In North

the UMed States and Italy.

Amenca. Europe. and Japan and are part of the collectlon o f he

Hctor Mndez-Caratini

ChOl. Arclll!ecrural Apocalypse. and Angkor.

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

1981). the Leopold Godowsky Jr. Color Photography Award (Boston

Now IIves ,n Oavls. California. H e works as a photographer for The

Photographlc Resource Center. 1990). and th e Koda chrome Award of

Sacramento Bee. Sacramento. California. Recent exh,b,t,ons of hls work

Excellence (Eastman Kodak. N ew York. 1991).

Inelude Work m !he Flelds (Mexlco Clty N atl onal Museum of

Anthropology and Hlstory. 1993). and The Llf< o( Ca sar Chavez

Ana Mendieta

(smlthsonlon Ins!ltutlon for Natural H lstory. Washington. O.e.. 199 3)

Born In Havana. Cuba. O,ed 1985. Her work IS represented In

numerous collectlons Ineludlng The Metropohtan Museum of Art. New

Delilah Montoya

York. N ew York: The Hlrshhorn Museum and Sculpture Garden.

Born 1955 In Fort W orth. Texas. Currently IIves In Albuqu rque. New

W ashington. O.e.: the Museum of Fine Arts. Boston. Massachusen:

Mexlco and teaches pho!ography at the Instltute of Amencan Indlan

and the San FranCIsco Museum of Modern Art. San FranCIsco.

Art In Santa Fe.

California.

Sarah Moon
Tony Mendoza

Born Manelle Hadengue In France. she turned from modellng to

Born In H avana. Cuba. Currently IIves ,n Columbus. Ohlo. Mendoza

fashlon photography In 1968. She has taken phorographs for Nova.

teaches at the Internatlonal Center for Pho tography In New York C,ty.

Vogue Mane-ClOIre. Harper's Bazaar. Ella and Vo!re Beauce.

Hls work IS Included In the collectlons ofThe Museum of Modern Art.

NYC " and the Museum of Fine Arts o f Boston. among others.

Abelardo Morell

Sheila Metzner

Professor of Photography. Massachusens College of Art. Bos!on.

Born In Cuba. Currently Ilves In Brookllne. Massachuse !s. He IS

Born 1939 In Brooklyn. New York. Currently resides In New York.

Massachusens. He recelved the John Slmon Guggenhelm Memonal

H er work has appeared In such pubilcatlons as Mlrrors and Wmdows:

Fellowshlp In 1994.

Amencan Pho!ography Slnce 1960. Counrerparrs: Form and Emollon In

Pho!ographs. and Human Figure. The Gallery o( World Pho!ography. 1984.

and has been published In Rolllng Stone. Vogue. Vanl!y Falr. CUlslne. GEO.
and House and Garden.

224

ART I STS

AND

CURATORS

B I OS

Martin Munkacsi

Barbara Norfleet

A Hungarian sports photographer who switched to fashion

Currently resides in Cambridge. Massachusetls where she is D irector

photography. he worked for Harper's Bazaar under the art direction

of Harvard's photography collectio n and a senior lecturer in the

of Alexey Brodovitch.

Department ofVisual and Environmental 5tudies. 5eventeen one

woman exhibitions; personal awards include a Guggenheim Fellowship

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

publications are Manscape With Seasts ( 1990) and Looking al Death

collective and personal exhibitions since 1988. Since 1991, he has

(1993).

worked as a curator for the Photolibrary of Cuba.

Ron O'Oonnell
Gerard Musy

Born 1952 in 5tirling. England. Currently lives in Edinburgh. 5cotland.

Born 1960 in 5witzerland. Currently lives in Paris. H is work appears in

H is most recen t exhibition was a 1994 Touring Exhibition with the

many European magazines and is in the collection of the Bibliotheque

National Museum of Photography. Film and Television. His work is in

N ationale in Paris and the Kunsthaus of Zurich.

the public collections ofThe Walker Arts Centre. Minneapolis.

Minnesota. The 5cottish N ational Gal ler y of Modern Art. and Centre

Patrick Nagatani

Georges Pompidou. Paris. among others.

Associate Pro fessor of Art. University of New Mexico in A lbuquerque.

N agatani has numerous individual exhibits including most recently, at

Norman Parkinson

Stanford University at Palo A lto and at the Hearst Center for the Arts,

Born 19 13 in London. Died in the 1980s. Parkinson apprenticed w ith

Cedar Falls, lowa.

5peaight. a Bond 5treet "Court Photographers" fi rmo He worked with

Harper's Bazaar and many of Vogue 's foreign editions. as well as Li{e.

Osamu James Nakagawa

Look. Cosmopoliton and other magazines.

Born 1962 in N ew York City. Currently lives in Houston, Texas.

Nakagawa holds an MFA in Photography from the University of

Irving Penn

Houston. H is work has been exhibited at the American Photography

Born 19 17 in Plainfield, New Jersey. Currently works in N ew York City.

Institute, N ew York and 50kucentre, Ommen, the Netherlands.

His photographs first appeared in Vogue in 1943 and have been

repri nted in Pon{olio. Graphis. and Time-Li fe Books and regularly appear

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.

Queen. Slern and Playboy.

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

Photolibrary of Cuba and Limbos de/ Caribe. Pea has participated in

Born 1959 in Havana. Cuba. Ney is a freelance photographer whose

collective exhibitions in Cuba. Italy. Mexico. Germany. Denmark.

work has been exhibited in collective and solo exhibitions around the

and Venezuela,

world and published in magazines and books in Cuba and other

countries. From 1989 to 1993. Ney worked as a photojournalist for

Marta Mara Prez

the Trtbuna de La Habana.

Born 1959 in Havana. Cuba. Prez has been showing her work since

Anne Noggle

Cuba. Prez's work has been seen in countries as diverse as Finland.

Born 1922 in Evanston. lII inois. Currently lives in Albuquerque. N ew

Australia and Brazil.

1984 in several group exhibits and three personal exhibits. Out side of

Mexico. N oggle received the John 5imon Guggenheim Fellowship

Grant in 1982. Her most recent publication. A Dance with Death:

Paul Pfeiffer

Personal Memo"s o{ Soviet Airwomen in WW 11 ( 1994) was preceded by

Born 1966 in Honolulu. Hawaii. Currently lives in N ew York City.

the books For God. Country and the Thrill o{ It Women Air{orce Service

Pfeiffer received his MFA from Hunter College . N ewYork. 1994.A

P,lots

In

WW 11 ( 1990) and Si/ver Linlng: Photographs by Anne Noggle

(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

Hanh Thi Pham

Sophie Rivera

Born 1956 in Saigon. Vietnam. Currently resides In Southern Cahfornla.

Currently hves In New York Clty. She has exhlblted extenSlvely bo h

and tnternatlonally. and her work

Pham has taught photography at Cahfornla Instltute for the Art s and

na tlonally

Cal State. Fuller ton. Her work

publleatlon s. Ineludlng W omen Art.

15

Ineluded in many pubhe collectlons.

15

Induded

In

vanous

sueh as the California Museum of Photography. Fredenek S. Wlght

Bertha Gl Rodrguez

Gallery. UCLA. and the Laguna Art Museum. among others.

Currently hves In San Antonio. Texas. Beglnnlng work al l he age of

Erio Piccagliani

fifteen. Rodliguez reeelved her photographlC lralnlng through

Born in Modena. Italy. Pleeaghani was the offieial photographer for La

apprentleeshlp to a New York C,ty pho tographer.

Sealafrom 1950to 1979.

Rigoberto Romero
Denis Piel

Born 1940. Pinar del Rlo. Cuba. O,ed 199 1. HIS wOl'k IS pan o f

Born 1944 in Franee. Raised in A ustralia and eurrently lives in N ew

permanenl eollections of th e Mexiean Counell of Photography. the

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

photographed Oonna Karan advertlsements. H e eurrently d..-ects films.

Wnters and ArtlSts of Cuba.

Manuel Pia

Robert Samen

Born 1958. Pia works as a freelanee photographer and as the art

A reglStered arehltect wlth eenlfieatlon by the N atlonal CounClI of

director for the magazine PropOSICIones. Hls work was dlsplayed In the

Arehltectural ReglStratl on Board. Samen was a human fae ors

exhlbltl ons Crnicos de lo Ciudad at the Photohbrar y of Cuba and

arehltee slmulatlon englneer for the Spaee Statlon Fr edom w lth

limbos del Caribe.

Loekheed Englneenng and SClenees CO.

Rafael Ramrez

Juan Snchez

Currently resides In San Juan. Puerto RICo where he IS a professlonal

Born 19 54 In Brooklyn. New York. Currently Ilves In Brooklyn where

freelanee pho tographer. His work has been published in Nuevo Luz

he IS a Pro fessor al Hunter College. C,ty Unlverslty of N cw York. Hls

and in M a;rena. an anthology of eontemporar y Puerto Riean poetry.

awards inelude The John Simon G uggenheim Memonal Fellowshlp

(1988). and the N ew York Foundatlon for lhe Arts (1988 and 1992).

Sandra Reus
Marcos Santilli

Born In R,o Piedras. Puer to RIco. CUI'rently resides In Seattle.

Washington. H er awards Inelude Casa de Las A meneas. first prize for

Born 1951 In Sao Paulo. BraZl/. A foundlng member and first Vice,

her photo essay Belleza en Cornada (La Habana. Cuba. 1990).

presldent of two Important photographers' unlons. he IS curren Iy

owner,manager of Memna Comunlea~es Ltda. In Sao Paulo. In

Charles Reutlinger

1987, 1988. he recelved a fellowshlp from the Fulbnght CommlSSlon In

Operated a portralt studlo In Pans dunng the 1850s and 1860s. H IS

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.

Sal'abla's work was dlSplayed

In

twelve personal exhlblllons. and IS part

Bob Richardson

of permanenl collections at the Photolibrar y of Cuba and th e Casa de

Born on Long Island in 1928. Currently lives In N ew York Cit y.

las Amencas.

Riehardson studied under famed art director A lexey Brodovlteh. Hls

photography has appeared In H arper's Bazaar. Novo. Queen. and

David Seidner

English. Freneh. and Italian Vogue.

Born 1957 Los Angeles. Cahfornla. Currenlly hves In N ew York and

Pam. H e IS a contnbutlng editor to Bomb magaZine and contnbutlng

Herb Ritts

pholographer 10 Itahan Vogue and Harper's & Queen H IS pubheatlons

Grew up In Brentwood. California. R,tts has photographed sueh stars

Inelude N o. 2 Les Cah/ers de /'Energumene. Moments de M ode and

as Madonna. Tom CrulSe. Richard Gere. Klm BaSlnger and others.

DaVid Se/dner. PhOlOgrophs.

Bullfineh Press is publlShing his new book thlS year. wi th landseapes.

portrait s and wildli fe photos made In Afnea.

226

ARTISTS

ANO

CURATORS

BIOS

Stephen Shames

Andre Tracey

Based in Philadelphia. Shames spent five years in welfare hotels and on

Received her B,FA from University of lowa in 1970. Her wor k is

the streets o f Americas blighted inner ci ties documenting the horrors

included in collections such as the International Center for

of Poveny in Americo. His book Outside The Dreom: Chi/d Poverty in

Photography in N ew York City, the Museum of Fine A rts in Houston,

Ameflco was published by Aperture and the Children's Defense Fund.

the International Museum of Photography, George Eastman House in

Shames used his N PPA N ikon Documentary Sabbatical Grant to fi nish

Rochester and the Baltimore Museum.

his year of work on Hom,cide that used Houston,Texas as the example

Hiromi Tsuchida

of inner-city violence reaching epidemic proportions.

Born 1939 Fukui Prefecture, Japan. H is photos have been a subject of

Toshio Shibata

exhibitions throughout Japan, Europe and in the United States. H is

Born 1949 in Tokyo. H e received his MFA from Tokyo U niversity of

work is par t of t he collections of a number of institut ions, such as the

Fine Arts and Music. Shibata has had numerous one-person

N ew York Museum of A rt, the Princeton University Art Museum, and

exhibilions in Japan, and his work has al so had solo displays in Chicago

the Center Georges Pompidou.

and New York.

Deborah Turbeville
Victor Skrebneski

Born 1938 in Massachusetts, Turbeville lives in N ew Yor k and Mexico.

Born in 1929 of Russian-Polish parents in Chicago where he current ly

She was fashion editor for Modemoiselle and took photographs for

resides. He studied at the Art Institute in Chicago and opened his

Essence and Horpe"s Bazaor.

studio there in 1952. He beca me known for his advertisements for

Estee Lauder in the 19705 and 19805 and has published several books

Ritsko Uchida

of photography.

Born 1962 in Hyoga, Japan. Currently resides in N ew York City where

she is a freelance photographer. Uchida studied photography at Tokyo

Edward Steichen

Instit ut e of Po lytechnics and holds an MFA from California Institute for

Born 1879 in Luxembourg. Died 1973 in the U.s. Steichen was o ne of

the A rts.

the founders of the Photo-Secession movement. He was appointed

director of the Department of Photography at New York's Museum of

Ricardo Valverde

Art. where he supervised many exhibitions, including Fom,/y o( Mon.

Born in Phoenix, Arizona. Currently lives in Los Angeles, Californ ia

where he works with the City of Los Angeles. Valverde received his

Bert Stern

MFA in Graphic Design from UCLA. H is work has been exhibited

Born in Brooklyn, New York in the early 19305. Currently doing

throughout the U nited States as well as in Mexico, Cuba, and Russia.

advertising photography in N ew Yor k City, Stern has photographed for

such firms as Smirnoff's Vodka, American Cyanamid, Arpege, Canon

Kathy Vargas

cameras, D uPon!. Pepsi-Cola, U.S. Steel, Volkswagen and many others.

D irector of the Visual Art s Program at t he Guadalu pe Cultural Arts

Center in San A nto nio,Texas since I 985,Vargas received her MFA

Carolyn Sumners

from the University ofTexas in 1984. Individual exhibitions of her own

D irector of astronomy and the physical sciences for the H ouston

work include The Art o( Asking, IN TAR Galler y, N .Y.; a retrospective in

Museum of N atural Science. Her work in curriculum development and

Erlangen, Germany: Sala U no in Rome, Italy: Galeria Juan Martn in

dissemination has yielded laboratory manuals, curriculum guides in

Mexico City, among others.

astronomy and solar energy, elementary activity unils for national

publishers, and computer software. Her book Toys in 5poce, Exp/oring

Victor Vzquez

5C1ence wllh the Astronaut was recently released.

Born and lives in San Juan, Puert o Rico. He currently works as a

DianeTani

best art book of t he year in 199 I by the International Art Crit ics of

Currently resides in San Francisco, California, Tani holds an MFA in

Puerto Rico,

free lance photographer. His book The Reo/m o(Woiting was named

Fine Ar tslPhotography from the University of N ew Mexico,

Albuquerque . She received a Eureka Fellowship from the Fleischacker

Ricardo Viera

Foundation in 199 1.

D irector/Curator at Lehigh Univer sity Art GallerieslMusuem

O peration in Bethlehem, Pennsylvania since 1974. Viera has received
a number of awards such as Mello n Faculty D evelopment Grant.
Carnegie-Mel lo n Institute in Pennsylvania and the Cintas Foundation
Fellowship, Instit ute of International Education in N ew York.

227

ARTISTS

ANO

CURATORS

BIOS

Chris von Wangenheim

KoYamada

Born 1942 in Germany. Oied in 198 1. He established his own studio In

Born 1964 In N agoya. japan.Yamada currenlly lives In H ouslon. Texas

1968. and worked for such magazlnes as Harpers Bazaar. lrallan Vogue.

where he works for The japanese Educallonal Inslltule of Houslon. He

French Vogue. American Vogue. Esquife. DUI. Playboy. and Inervlew.

holds an MFA from Ohlo Unlverslly In Alhens. Ohlo.

Wendy Watriss

Jin -meYoon

A founder of FotoFest In 1984 . Watnss has had numerous one-person

Born 1960 In Seoul. Korea. Currently lives In Vancouver. Bnllsh

museum exhibitions in western and eastern Europe. Canada. MexlcQ.

Columbia where she IS Asslsl ant Professor In Visual Art s al Slmon

and the USoShe co -authored Commg ro Terms. The German HIII Country

Fraser Unlverslly. Her mOSI recent work IS Included In lhe group

o(Texas ( 1991 ). Her work has been published In LI(e. Slern (Germany).

exhlblllon. Across lhe PaCl{tc: Conemporary Korean Are shown al lhe

Geo. PholOreportages (France). The New York Times. Blld (Sweden).

Queens M useum of Art and Kumho Museum. Seoul. Korea.

Chrislln Science M onilOr. among many others.

Ricardo Estanislao Zulueta

Bruce Weber

Currently resides In N ew York City. Recent exhiblllons Include Arr

Weber is known fo r his fashlon work for Ralph Lauren. Calvln Kleln.

In Transl! on Markel Streel (solo exhibltlon. San FranCIsco Art

Karl Lagerfeld. Gianni Versace. Banana Republic. Pepe jeans. and many

Commlsslon. 1994). Imaglnlng Famll,es: Images and VOlCes (Smllhsonlon

others. He has publlshed nme books. Weber dlrected the documen-

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

m numerous solo and group exhibillons in

Europe and lhe Uniled Sl al es. and is Included In public collections in

the Internat ional Cenler o f Phologl"aphy. N ew York. M oderna Musset.
Sl ockholm. Librar y of Congress. Washingl o n. O c. among o lher s.

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

m Houston. He IS a reClplent of the john S,mon Guggenheim

Fellowshlp. Published work Includes Rice Unlversl!y: A 75lh Annlversary
Pomal!. ( 1987). A Place o( Dreams: HouslOn. an Ameflcan Clly. (1986).

Riles o( Foil: High School Foolbollm Texas. (1979). GeoffWmnlngham:

PholOgraphs. ( 1974). GOlng Texan. ( 1972). and Fflday Nighl m lhe
Co'seum. (197 1).

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

The Brown Foundat ion

Canon USA

The Wllliam Stamps Fansh Fund

FUli Film USA Inc.

SPONSORS

The W illlam Stamps Farish Fund

The Wortham Foundation

Robert E. Woods Foundation

Ilford Photo Corp.

Leica Camera. Inc.

The Rockefeller Foundation

The Nathan Cummings

The Brown Foundation

Houston Endowment Inc.

The Webber Foundation

Cul tural Arts Council of Houston

Nikon Inc.
O lympus Corporation

AT&T

Texas Commlssion fo,.. the Arts

B&H Photo and Video

The Andy Warhol Foundation for

the Visual Arts

Shell 011 Company

Color Place
Fox Photo

N ational Endowment for the Arts

Menil Propertles

Texas Commission for the

J. A

& Isabel M. Elklns Foundallon

NPL

IN-KIND
CONTRIBUTORS
Welngarten Realty
Pennebaker DeSlgn
David Berman Films. Inc.

Foundation

Humanities

Quantum Consultants
Sotheby's

and Visitors Bureau

Houston Downtown
Management Carpo

Conventlon Center FaCIlities

Lufthansa German Alrhnes

Charitable Lead Annuity Trust

Caddell & Conwell Foundation
Texaco Inc.
Winslow Foundation

Emmle P. Lewis. AE.5. Consulting

The Harris and Ellza Kempner

Fund

David Martell. Art Llnes

Eduard A ntoine Phihppe.
Computer Services

IN-KIND
CONTRIBUTORS

IN-KIND
CONTRIBUTORS
The N ational Geographic Society
N ASA

American Leadership Forum

Ar te Publico Press
A nheuser Busch Inc.
The Houston Hispanic Forum

Arte Pubhco Press

Channel 8. KUHT-TV

The Institute of Hispanic Culture

Guadalupe Cultural Arts Center

European Photography
Fnends of Photography

En Foco Inc.
Mexican American Studies

Amencan Institute of Architects

Houston Zoological SOClety

Menll Propertles
Patnck Media

The Margaret Cullinan Wray

Metropohtan Life Foundation

Texas Commission on the Arts

Texas Commerce Bank

Greater Houston Convention

The Char les Engelhard

Foundation

ProgramoUnlversity of
Houston
O iga Soliz

Meadows Museum

Photo Metro

Global Manne. Inc

BDO Seldman

SOClety of Photographic
Educators
Texas Folklife Resource Cen ter

Bob Green Productions

DIana Hickerson. Writer

Texas Photographic Society

Women in Communication

Quanah Productions
VTTY

World Resources Institute

Archimage
Bellaire Nature Discovery Center
Chroma Copy
Citlzens Environmental Coalrtlon
Houston Arboretum and Nature
Center
Houston Audubon Society
Houston Zoo

Houston Zoological Society

Mercer Arboretum
Rober t A.Vines Environmental

Center

Boulevard BlStro
Brown and Root
Continental Alrllnes

Duncan & Fletcher

Half Pnce Books
Lufthansa
TravelTech
Warner Cable
Welner's

229

ACKNOWLEDGEMENTS

INDIVIDUAL
CONTRIBUTORS

THE GLOBAL
ENVIRONMENT
SYMPOSIUM SPEAKERS

LlTERACYTHROUGH
PHOTOGRAPHY
SPONSORS

SPONSORS

MlChael Caddell and Tracey

Claudia Andular

H ouston Endowment Inc.

Caddell & Conwell Foundatlon

Conwell
Stewart Cureton
Anne S. Fan sh
Mary Harley
Mr. and Mrs. A. L. Jensen
Emilie Kilgore

Scooter Cheatam

The Educatlonal Foundatlon o(

Peter GOln

The Kettenng Famlly FoundatlOn

M argol Leonard

Ingo Gnther

Ruby R. Vale Foundatlon

IN-KIND
CONTRIBUTORS

The Susan Vaughan Fo undatlon.

Th e ndowment Fund o f the

Adnenne R. Bond
David and Liz Branch

Robert Dawson

Amerlca

FOTOFEST
EXHIBITIONS 1992-1994

M ax and Isabel H erzsteln

Mr. and Mrs. Mlchael Kleln

B.J. Dush

The Favrot Fund

Glen A. Rosenbaum

Peter Emerson

The Gordon and Mary Caln

W llllam F. Stem

Ted Eubanks

Foundal lon

Harris M asterson

Dr. Steven Klineberg

Jane B. Owen

John Koros

Mr. and Mrs. Bernard Pieper

Dr. Kam lesh Lulla

Jerri Poli

Karen H ess Rogers

Ray Miller
Patl, Roberson

American General Corporatlon

Mr: and Mrs. Larry 5. Davls

Regina J. Rogers

Marcos Santilll

Charter B.lnk

Dr. Elleen D avls Farber

Inc.

The Vale-Asche Foundation

Jew1sh Communlty of
Houst o n

M. W . Kellogg Company

Louisa Stude Sarofim

Kevl n Shanley

Cultural Arts Cenler

Mlchael A. Chmlel

C. Cabann Smlth

Ted Shaplro

The Powell Foundatlon

Haynes & Boone . LLP

Mr. and Mrs. Benjamin W llcox

LaVerne Wllllams

The Samuel s Fo undatlon

Bowne.lnc.

Th e Scurlock Foundatlon

H ouston Grand Opera

Southwestern Bell Telephone

H ouston Internatlonal Festival

Isabel and Wallace Wilson

"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

Baker and Botts

Mexlc n C ultural Instltute of

Rice Deslgn Alhance

Coopers & Lybrand

tUi

Union Texas Petroleum

Hou ston

Museum of Fine Art s. Houston

Robert Buitrn

Evin Thayer Studio

Maria Magdalena Campos-Pons

Framewor k Inc.

Jack Dlano

LTP INDIVIDUAL
CONTRIBUTORS

Ibsen Espada

Jack and Maroa Car ter

WllllamHl1I

Fernanda Matos

Carillo Gil

Houslon Fire Department

Lucho
Page Par kes School o f Modelingl
Intermedia Agency
Pamela Re lngold

Martina Lopez

M . Penner

Mala Martnez-Caas

Jane B. Owen
Mlke Stude

Tony Mendoza

Wallace Wllson

Dr. Juan Flores

Dr. Roberta Fernandez
Harry Gamboa Jr.

Menil Collectlon

Dr. Tatcho Mindiola

Gerardo M osquera

Celia Muoz

Silvia Pandolfi
Juan Snchez
Kathy Vargas
Ricardo Viera
D r. Tomas Ybarra- Frausto

23 0

Ka tnna M cCormlCk Barnes

T,-eebeard's Restaurant
M tCkeyand Mlke M arvlns

ACKNOWLEDGEMENTS

FOTOFEST FINE PRINT

AUCTION

Janna Fulbnght

Barbara Norlleet

Sally Gall

Sandro Oramas

Cnstlna GarCl3 Rodero

W arren Padula

FOTOFEST ART
ADVISORY BOARD

SPONSORS

Flor Garduo

Marta Mana Perez

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Texas Commerce San

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Suzanne Bloom

Helmul Gemshelm
Eduardo Gil

W Olclech Prazmowskl

Geary Broadnax

Mlchael Putnam

Peter Brown

Ricardo Gome2 Perez

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

Danny Marc Samuels

David Jacobs
George Krause

Phylhs Hand

Pete Sandschaper

AnneTucker

JIII H artley

Marcos Santllh

Wendy Watnss

Prof. Robert H ausser

Chico Seay

W Temple Webber. 111

PallyWood

D bra H elmerdlnger

Secret Sea VlSlons (Burt Jones!

Chnt W ,lIour

AUCTION ARTISTS &

DONORS

Paul Hester

Stephen Shames

Ablgall Heyman

Heldl L. Sherman

AhCla Ahumada SalalZ

BIII Hlrst

M,

Gwen A klnlA llan Ludwig

David Hlynsky

duardo Muoz

VlSlon Gallery

Maureen Shlmlock)

INTERNATIONAL
ADVISORY BOARD

SlmqU Afterlmage
Photography

James A linder

E,koh H osoe

Cynthla Jennlfer Smlth

Plerre Apraxlne

Juan Carlos A lom

Chnt Imboden

Len Speler

David Balsells

Barbara Alper

Graclela Iturb,de

Hans Staartles

Nancy Barren

Lubo Stacho Jane Corkln Gallery

Dr. Enka Bllleter

Derek BlShton

Pamela A uchlncloss Gallery

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

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Fran Beaufrand

Douglas B, Kahn

D avid St nck

Henry Bnmmer

Charles Blaslny Rlvera

John Klppln

Debra Sugerman

Phllip Brookman

Gay Block

George Krause

Ru tger t n Broeke

Alejand ro Castellanos

Almce Boll

Paul V,ncent Kuntz

Gwenn Thomas

Van Denen Coke

Jose( Breltenbach

Alex Labry

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LUlSella D 'Ales",ndro

Josef Breltenbach Trust

Phlllp Lamb

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Peter C. Jones, Inc

Cay long

Juan Travnlk

Mano D iaz

Manlyn Brldges

Paul La towsky

Linda Troeller

Cdrolyn Brown Benteler-Morgan

Harald-M Lehnardt

HenryTroup

Pror. Robert Doherty

Manon L. Brown

Bert L. Long

ThomasTuhs

Peter Brown

David Maawad

Jerry Uelsmann

James L. Enyeart
U te Esloldsen

Dan Burkholder

Barbara MacN lven

Ed van der Elsken Anneke van

Edward Bur tynsky

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

MANUAL (Suzanne Bloom & Ed

JlmVecchl

Franco Fon tana

Hill)

Kelth Carter

Charles-Henn Favrod

TerryVlne

Blrgitta Forsell

Man lyn W ahgore

Juan Alberto Gavina

F mando Castro

Richard Margohs

LUClen Clerque

JIII MathlS

Peggy Jenklns W are

Mark H aworl h-Booth

Mark Cohen

Ralph G,bson

Jan C. W anen

Prof, Helmut Gcrnshclm

Eduardo Gil

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

jeff Merm Isteln

Garry Wlnogrand Steven and

W endy Ewald
Larry Flnk

Jlm Moore
(duardo Muoz

HeldlWragc

Frdnc Mar",1

Robert Flynt

O",mu James N akagawa

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

Dr. Mareos Calderon

D on BaClgalupl

David LaOalre

Dewl Lewls

Cohn O sman

Edgardo Colon

Fred Baldwln

Bob Persky

ROSle Zamora Cope

Tom Bamberger

Eleazar Lopez Zamora

Emestlne Ruben

Dr. Jaime de la Isla

Sarah Bayllss

Shlrley Mad,ll

Penttl Sammallahti

Gloria Delgado

Charles BlaSlny- Rlvera

Steven McKlansky

Mami Sandwelss

Ben DeSoto

Susan 81el steln

W llham Messer

Joel Savary

Ibsen Espada

Victoria Blaseo

Pablo Ortlz M onast no

Thomas Solley

Flora Mana GarCla

Sucanne Bloom

M lke Marvlns

Sara Stevenson

Cyndy Garza

Sylvla Bors

Susan Morgan

Flnn Throne

Dr. Yvonne Gonzalez

Mana Teresa Boulton

Andreas Mueller- Pohle

Pedro Vasquez

Helen Grace

Chantelle N oel

Bas Vroege

All son Devine Devine Nordstrom

Cohn W esterbeck

Lisa Hemandez
Benito Huerta

Jo Bren zo
Henry Bnmmer

Peter Brown

W llllam O'Cannar

Stephen Whlte

Dr. N lcolas Kanellos

Jean Caslln

EyalOnne

PaulWombell

Yolanda Londono

Eduardo Castanho

Amy Pastan

Oark Worsw ick

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

Yolanda Black N avarro

Thomas Colhns

Chnstopher R.auschenberg

Blanca O'Leary

Terry Conrad

Carolyn RlChards

Macano Ramlrez

Jane Corkln

Ygnaclo Rlvero-Bulnes

Dr. Sylvla Ramos

Ben DeSo to

Mel Rosenthal

Richard Reyes

Alaln D 'Hooghe

Carlos Rios
Monica Sandoval

DICk Doughty
Karen D 'S,lva

Janct Russek
Mlchael Sand

Dr. John Sanchez

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

Rubens Fernandes, Jr.

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

Juan Albel-to Gavana

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

Linda W olcott Moore

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

Juan Car los Alom

Ned Bellamy

Linda Sue Alsup

Jean Barber

Mary Jane Connelly

CONSTRUCTlON
CREW

Dr: Roberta Fernandez

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

Marta Snchez Philippe

Phil Davis

Marta Snchez

Debbie Valdez

Signe Segrest

Shadow Productions

Sheila Pree

Claudlo San Miguel

George Sacaris

DOCENTS 1994
FOTOFEST

TracyeWear

INSTALLATION OF
PHOTOGRAPHS

Dlane Spiller

Manuel Aguilar

Dr: Phlllp Yennawlne

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

Gazer Design Group. Inc.

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

Council Member Felix Fraga

Randy Twaddle

Julie Fisher

Rafael Enr iquez

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

FINE PRINT AUCTION

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

Lynn Van Dokku m

Jud,Vroulos
Deb,Wallace

Peggy Hill

Marisela R. Vallie

Jack C. Mankiller

Eva Wolski

Soph'a H,nga

Maroo Villareal Jr.

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

Mar tha Molina

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

Barbara N lCho lson

Sylv,a Ann Palo s

Emle OrtlZ

Rupesh Patel

Brad Pesson

Juan F. Perez

Marta Snchez Phillipe

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

Mary Stark Love

Jose Rod roguez

James Stevenson

Lisa Mane Rodriguez

Joann Stone

Hugo Rodroguez

Martha Thomas

Council Member Gracia Saenz

Manny Santos

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

A IDS Foundation HouSlon

Milby Drug Free Youth Program

TomAnthony

HISO SUPPORT ANO

IMPLEMENTATlON OF
LTP

AIOS Founda tion Houston

American Red Cross

Mary Jane Connelly

AVES (Amigos Volunteers in

AVES (Amigos Volunteers in

Education and Services)

Americans)

Education and Services)

Leo Gallegos
Dr. Yvonne Gonzalez

Dizinger Foundation

Geri Briggs

Rose Hicks

Harris County Medical Society

Lisa Conwell

Margeret Kilgo

Houston Department of Health

Dizinger Foundation

Dr. Susan Sclafani

and Human Services

HouSlon Independent School
Distnd
PWA Coalltion
SALUTE

Amy Dolph

Suzanne Sutherland

N ancy Ford
H arris County Medical Society

LTP CLASSROOM
ASSISTANTS

Michael Hooley

Eleanor Asbury

Houston Department of Health

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

Milby Drug Free Youth Program

Anne Rooney

Jean Pirtle

Milby Writing Project

Dawn Sullivan

and Human Services

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

Adan Rios. M.o.

Phyllis Segal

Ingrid Saenger

Roann Stern

Beneva Williams Nyamu

SALUTE
Nassie Santiago

LTP A TEACHER'S GU/DE

Jay Slemmer

by David F. Brown and

Tina Summerlin

Wendy Ewald.

Cilia Teresa

Printed by HISD. 1993

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

Lewls Thomas 111

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

Marta Snchez Phlhppe

Pampa Tronl

M arguente Dunn

Eduard Antolne Phlhppe

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

Mr. & Mrs. Wllham Quayle

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

Leslle Wll hams

Kay Freedson

Elizabeth McBride

Pedro Rivarola

Shea nle Willram s

Kim Garcia

Eddie McCreary

Terry Robln son

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

Carol Grel ser

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

Earlie Hudnall. Jr.

Jim N atujec
Mike N ebel

Amanda Sulak

Troy Huechtker

M orton Susman

236

I N O E X

Bennett. Helen 135

Comestibles (Edibles) 42, 54

A Dance w'lh Deolh: Personal Memo" s 172

Bensimon. Gilles 127

Compoint. Stephane 160

A Second Look: Women Pho!Ogrophers 158

BenlelerMorgan Galleries 166

Con Cario 19

Abascal. Pedro 184. 194

Bernstein, Lou

Congress 01 Mexican Workers 205

Abbott. Berenice 158

Biodiversity. Soulh America 116

Contemporary Arts Museum 155

Adl 43. 57

Black experience 153

Consejo Nacional para la Cultura y las Artes 205

Alroca and Food 117

Blakemore. Amy 180. 181

Contemporary Photography lrom Cuba 184

Afncan American photojournalists 153

Body Shop Series. Hollywood 147

Cooper. Gary 134

Bohorques. Orestes and O iga 168

Corcoran Gallery of Art 153

AgUllar. Laura 37

Bombing Range 9 I

Corrales. Raul 184

AgulleraHellweg. Max 35

Bonni Benrubi Gallery 67

Crete 212

Ahumada. Ahcia 208

Borinquen 4 1

Cuban American Photography 6 1

AgOlnSl

Srro'ghr Lmes Senes S6

166

AIOS Photographs. The 202

Brazilian Amazon 79

Cuban American Photography in the U.S. 59

A/oskol Tobleoux Vivonts 162. 163

Brazos Bookstore 154.208

Cuban photography 184

Algaze. Mario 60. 66

Bril. Stefania 2

Cuenca. Arturo 59. 68

Allen. Harold 168

Brimmer. Henry 2

Cunningham. Imogen 166

Alom. Juan Carlos 184. 188. 215

Broadnax. Geary 153

Cutler. Paula 118

Alvarez Bravo. Manuel 41 . 178

Broom. Christina 158

Czech born photographer Antonin Kratochvil 79

Amazon 79

Brown. D avid I l. 2 14

Ame"can VOlces 10. 41 . 59. 61

Brown Pelican 99

Oaguerre. Louis 18

Andu/ar. Claudia 79. 84

Buitrn. Roben C. 20

Angkor Wat 79

BurtlMissy Finger 152

Oaughhetee. Mark 162. 163

A pollo astronauts 115

Byelorussia 79

David Liittschwager 99

Apollo spacecraft 76

Oawson. Robert 80. 98

Caddell & Conwell Foundation 208

Oebt. Mountains of 113

A ral. Tomle 170

ArchIVo General de la N aCin In MexlCo Clty 205. 20

OahlWolfe. Louise 127. 138. 158

California 79

Olano. Jack 4 l . 42. 47

Arechlga. Servando 208

California Brown Pelican 99

Delgado. Enrique 205

Anas. Constantine 184

Callas. Maria 2 11

Delgado y Garcia Archive 205

Arnault. Joubin 157

Calle. Sophie 155

Oeloose. Alain 157

Art Inst itute 01 Chicago 168

Camb. Pablo 42. 54

Oemarchelier. Patrick 127

An ost s' Loft & Gallery 212

Cameron. Julia Margaret 158

OeMeyer. Baron

Asoa 79

Camnitzer. Luis 60

Oesai. Neal 118

Asoa and the Atmosphere 117

ASlan American 170

Campbell. N aom, 146

deSouza. Allan

CamposPons. Maria Magdalena 59. 74

Devine. Jed 166

A tk, ns. Anna 158

Cantu. Rebecea 2 16. 217

Oaz. Enrique 205

Auerbach. Ellen 158

Caracas 80

Oiaz. Mario 184. 200

Australia. Oceania and the Oceans I 16

Caribbean 120

Oiaz. Porfirio 204

AUloblogrophlcal Slo"es.. The Olher 155

Carlos Bernal. Louis 30

Oietrich. Marlene 137

Avedon. Richard 127

Carillo Elementary School 216

Oobbins. Stella 178

Azzedlne Ala ,a 146. 148

Carter. Keith 174

Ooisneau. Robert 178

Casasola. Agustn Victor 204. 205

Badrona. Janel 118

Casasola Archive. The 204

Oow.Jim 166
Drlve-In Theo[er Series

BOlles y Bolos
Balley. D avid 127

Casson. Win ifred 159

Cast le. Irene 126

Eort/l Forum. The

Baldwln. Frederick 12

Chan. Gaye 170

Ecuadoran Amazon 79

Baos. Max Orlando 187

Chau. Monica 170

Edward Rudge Allen. Jr. Inspirations Gallery 173

Barber. Jean 202

Chavez. Favi 204

Elgort. Arthur 146

Barrymore. Drew 149

Chernobyl Cloud 111

Eliot. T. S. 174

Boseboll ond lhe M eontng o( Ame"ca 166

BOl Floghl 102. 103

Chicana and Chlcano artist s 18

Eratosthenes 105

Chicano art 19

Erdsicht 76

BOlhhouse Se"es 144

Chicano Movement 18. 19

ElWitt. Elliott 178. 179

Bauhaus 158

Children' s Museum 173

Europe and Energy 117

Behalm. Martin 105

Clarke. Henry 139

Evidence o(Things Not Seen 43

Belfut 80
Belleza en Cornada 42. 52

Cleary. John 152

Ewald. Wendy 1l . 214

Coffey. Brady 173

Collaboration wlth An and Education Groups 182
Colloquium on Latln American Photography 19

237

27

170

t 71

10. 115. 116. 117. 118

I N O EX

Gory (Rogelio Lpez Marin) 60. 65

Fabbn. Paulo 210

Govea. Catalina 26. 27

Graphs. Robert Fox 1 19

Kahlo. GUlllelmo 208. 209

Kane. An 142

Graves. Georgla I 33

Kal: Ida 158

Kenesz. Andr 178

FaCls and Fables by LUIs Medlna 168

Farm Secunty Admlnlstratlon 41 , 42
farmworkers 79

Fashlon: Evolullon/Revolu!!on 9. 10. 125. 126

FeS/lvals o( light 1991 173

Great Salt Lake. Utah 98

Greek Portfollo. A 212

Flfe and Smoke: The Kuwalt O" Well Flfes 160

Guess Fashion 149

GUIllermo Kahlo: Ph%graphs o( Cololllal M exleo 208

Fwe Eater: Oaxaca.

Gnthel: Ingo

M exlCo

42

F,,-ehouse Gallery 172

Flshe': Vernon 166

FI,nt. Gavln 170

Kleln. Wllliam 127. 140

Korda. Alberto 184
Kowloom Walled c. ty 80. 92
Kratoehvll. Antonln 79. 80. 89

76. 106. 108. 109. 110. ", . 112. 113. 114

H
Hadley. Kellh

Fluklnger. Roy 7

Klm. Hyung Su 170

Klell), Calvin 145

Kreneek. Tom 19
Kuw .. t 011 Well Flres. The 160

1SO. 1S l. 153

For God. Country. and the Thnll o( 1/ 172

Hall o( Globes 105

Harney. Tom 166

Foto ' Zeum 152. 162. 163

FotoFenee 214

Harpe's Bazaar 14 1
Harry Ransom Humanittes

FotoFest Edueatlon 2 14
FotoFest Exhibitlons 1992- 1994 183

Rea seareh Center 7. 10. 158

Havana B,enal 184

Fototeea del INAH. Paehuea. Mexleo 204. 208. 209

Hawarden. Lady Clementina 158

Lara. VlClor 204

Fototeea in Havana 184

Four Decades o( Mexlcon HIS/ory 204

Haya. Mana Eugema 184

Hayashi. Masuml 80. 87

LatIno Photography In the U.S 9. 17

Lawndale Art and Pelformanee Center 164. 165

Four Master Photographers 178. 179

Heliography 7

Fox. Or. Rober t

Hermes 157

L. An -My 170
Le. O,nh 170

10. 118. 11 9

Fraenkel Gallery. San FranCISco 1SS

Fresh Water Reserves 108
Fflda 208
Fuentes. Marlon 170

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

Lehman. Steve 160

Lelgh-Nussenblatt. Cynth.. 178. 179

H ine. Lewis 156

Hinton. Jane 180. 181

Hirosh lma 80. 97

Lelong 133

Hoang. N guyen Tan 170

Horst 127. 135. 137

Lut lschwager: David 79

Llteraey Through Photography (LTP) 11. 2 14-21 7

Horvat. Frank 127

Houston Center for Photography 160. 176

Lpez, Annie 17, 38

Llzama. S,lv,a 59. 69

Houston Grand Opera 208. 2 10

Lpez. Jose 168

Lopez. Martina 31

Houston Independent Sehool O,stnet (HISO) 2 14

Houston Internatlonal Festival 204, 210

Lpez Zamora. Eleazar 20'1. 208

Gamboa. Harry Jr. 33

Garalcoa. Carlos 184. 192. 193

Houston Museum of Natural Selenee (HMNS) 10. 11S

Los Templos de Propnedad Federol 208

Howard Greenberg Gallery. New York 1'10

Garcia Campos. Arturo 79. 90

Hoyningen-Huene. George 127. 133

Hulten. Pon tus 76

Madlgan. Martha 80. 100

Garcia Fayat. Katia 184. 197

Gareia Ferraz. N ereida 60.72
Garcia Hoya. Mario 184

Mandel. Mike 166

Manos. Constantine 2 12. 2 13

Human Na/ure 100

Humane SOClety VIII 73
Hunter. Jlm "Catfish" 166

Mardl Gras Galveston 2 12

'
Mar t l. Bllly 166
Ma rtinez Caas. Man'a 60. 64

Garcia. Romualdo 204. 205

1-95 - COnSlrUC/lOn - 11 69

Maser. W ayne 149

Garvens. Ellen 80. 10 1

Image ond M emory, LOlm Amencan PholOgraphy I I

Mawaad. DavId 208

German Cultural Center 158

Images o( Ihe World 79. 80

Mayol. Carlos 184 . 198

Gernsheim Colleet ion. The 7. 8. 158. 159

Gernsheim, Helmut 7. 10

Imagire.Oorothy 170
In My Falher's Sweeles/ Dreams 167
IndonesIa 154

Mayol. Humberto 184. 199

MeMurtrey Gallery 17 1. 174

Gareia. Manuel 205

Garcia. Rogelio 204

G,l Rodriquez. Ber tha 25

G,lbraltar. Stralt of 120
Glmpaya. Frank 42. 49
Global EnVlronment, The 9. 1O. 76. 77. 79
Globes 105
Goethe-Institut. German Cultural Center 158. 159
Goin. Peter 80. 9 1

Medlna. LuIS 59. 71 . 168. 169

MelSel.Steven 127
Mendez. Frank X . 42. 48

Informal Ion superhlghway 11S

Inman Gallery 152. 180. 181
Instltutlonal Revolullonary Party (PRI) 205

M ndezCaratlnl , H ector 4 2. 53

Mendleta. Ana 60. 75

Instituto N aCional de An tropologa e

Mendoza, Tony 60
Menzel. Peter 160
MexlCan Revolut ion 204

Historia (INAH) 204

Gomez Pea. Guillermo 6 1

Gomez-Perez. RICardo 80. 95

J. Armin Rust 152

Mlddleton . Susan 79. 99

Jane H. Baum Gallery 102. 103

Japanese Amen can photographer Masum l H ayashl

Japanese photographer Hlroml T suehlda 80

JerseyVlllage Hlgh Sehool 173
Jimenez, Ricardo 80
Joubin. Arnau lt 157

238

80

1N D E X

Mllby SenIor H igh School 202

Snchez. Chris 28

Mlllan. Nestor 42. 56

Para un recuerdo 18

5nchez, Juan 4 1, 43. 51

Mln. Yong Soon

Parkln son, Norman 136

Santena 168

Pau -Ll osa. Ricardo 168

Santilli, Mareos 79, 83

170

Mltchum. Robert

148

Mlyamoto. Ryuli 80. 92

Peabody Essex Museum. Salem, Massachusetts 1S6

Sarabia, Alfredo 184, 186

Molina. AntonIo 184

Pelecanus occidentalis californicus 99

Pelocan 99
Pea. Ren 184, 195

Satellite's Blind Spots 1 14

Schneider. Jorge and Martha 168

Monasterio. Pablo Ortz 205

Prez. Marta Mana

Scotland 154

Montoya. Delilah 39

Peterhans, W alter 158

Scottish conceptual artist 80

Moon. Sarah

Pfeiffer. Paul 170

Seave, Tom

Pham, Hanh Thi 170

Selkirk. Neil 166

Molona. Genaro 29
Monasteno. Leonor Ort tz 205

127

Morehouse. Manon 132

184. 191

Scala diva 2 10

166

Morell. Abelardo 60. 67

Pho to Corcle o f Chicago 168

Sewall Art Gallery. Rice University 178, 179

Mountains o f Debt 1 13

Photo Performance 73

Shames, Stephen 80

Muller-Pohle. Andreas 2

PhotoSecessionists 127

Shedd Reed, Peter 168

Munkacsi. Mart in I27

Photographs by Constan tine M anos 2 12

Shellman. Mike 160

Muoz. Celoa 36

Photography Houston. Spring 1994 176. 177

Shibata, Toshio 80, 8S

Muoz. Eduardo 184. 190

PlCcagliani. Erio 21 1

Shore, Stephen 166

Munro. J. RIChard

1S3

Picturing Asia America 170

Simon, Achille 156

Museo Regional de la Alhndiga de Granaditas 204

Pia. Manuel

Smith, Stephanie 1SS

Museum o f N atu ral Science. Houston (HMNS) 10

Poll tleal H istor y. Plates o( the Revoluton 204

Smithsonian Institution Traveling Exhibitions 153

Museum of F,ne Arts. Houst on 1S3. 166

Pollution 1 10

Sokolsky. Melvin 14 1

Po pova, N adezhda 172

Somalian children 80

Nagatani. Patrick 80. 102- 103

Population Bubble 109

Songs o( My People 153

Port o f Galveston 156

Sophie Calle: Romances 155

Post Elementary School 173

South America and Biodiversit y 1 16

Nakagawa. Osamu James

170. 17 1

NASA 10
NASA Satellote Images 1 19. 120
NASA's Johnson Space Center 1 18

184, 189

Psalter. James 154

Soviet Ai r Force Regiments 172

Puerto Rican Photography in the U.s. 4 1

Spherical Concepts 1 18

NaCIonal de Antropologa e Historia (INAH) 204

Spontini, G. 2 1 1

Nakagawa. O samu James 170. 17 1

Quince Sellos CubonoslFi(teen Cuban Stamps 64

Staley, Etheleen 10, 127

National Endowment for the Humanities 156

Natlonal GeographlC Society 10. 1 18

Natlonal Revolutlonary Party 205

NationsBank 160. 161

R.. E. Richee 134

Steichen. Joanna T. 132

Ramrez. Rafael 43. 55

Steiglitz. Alfred 127

Rapier. Ap ril 158

Really Mexiean 17, 38

N ebe!. Mike 173

Neimanas. Barbara CraneJoyce 158

Nevada test site 96

Stern, Grete 158

Stillwater Wildlife Refuge 9 1

Refugee Currents 1 12

Strait of Gilbraltar 120

Reus. Sandra 42. 52

New African ViSlons, Inc 15 3

New Art of Cuba 60

Studio Ringl & Pit: Berlin 1928- 1933

Reutlinger Studio Paris 130

Revelatlons SO

New England 154

Suicide Series 166

Rice Media Center 168. 169

127. 145

Richardson, Morrie 153

Ney. Jos 184. 196

N oggle. Anne 172
N o rlleet. Barbara 80. 96
North Amenca and Fresh W ater 1 16

Nuclear Des/re I I I
nuclear obsesslon 80

Superfund Site 80. 87

Ringl & Pit 158, 159

Ritts, Herb 127. 147

Rivera, Sophie 42, 50

Taino Indians 4 1

Robert Mann Galler y, New York 158

Romero. Rigoberto 184. 201

Tani. Diane 170

Taylor. Lisa

145

Teatro alla Scala. 11 2 10

Rondnia, Brazil 79

Nucleor Wostles 104

Sumners. Dr. Carolyn 1 15, 1 18

Sumners. Robert 1 18

Richmond Hall. The Menil Collection 184

Nlcphore N ipce. Joseph 7. 8. 10

Rumania 89

Texas A & M University Press 172

Russia 79, 172

Texas Center for Pho tography 152

Oceania and Oceans 1 16

Rust. J. Arm in 152

O"Oonnell. Ron 80. 104

Out o( the Sky: Portrolts .

The Scorched Earrh: 0 11 Well Fores in Kuwalt 160

Sainte-Marie, Ann 139

172

Outslde The Dreom, Chlld Poverr y In Ameriea 80

Ozone Hole 1 10

Texas Committee for the Humanities 156

Texas Gallery 154

Ogawa. Setsuko 97

158

Suffragettes 126
Suffragist movement 158

Riboud, Mare 79, 86

New Mexico 102. 103

Newton. H elmut

Staley Wise Gallery 127

Steichen. Edward 127, 132

3M Corporation 10

Salas, Osvaldo 184

Through the Eyes o( Children 214

Sally Gall 154

Thomas, Bill 166

Solute to ltaly 2 10

Thompson. David 160

Salute to Mexlco 204

Tigris and Euphrates Rivers 1 19

Samen, Robert 1 18

Time Warner. Inc 153

San Vicente, Victoria 205

239

Tracey. Andre 80

Transworld Anywhere:Any M edio over any Matler 76

Warner Cable 153

Traube. Alex 166

Wa'er In ,he West Pro)ect 80. 98

Traviora. Lo

2 10

Wa,ers Edge. The

Travis. DavId 168

154

Watnss. Wendy 12. 76. 80. 184. 210

Weber. Sruce 127. 148

Tsuchida. Hlfoml 80. 97

Turando , 210

W eil. Srian 202. 203

Turoeville. Deborah 127. 144

Turzio. Silvana 210

Weil. Danielle 166

Wells. DavId 79

Wha' ore Dreams Made O(? 216

Uchlda. Rltsko 170

Where Hove You Gone Joe DiMagglo? 166

Williams. RICk 166

Ukraine 79
Umbra Editions. New York 154
United Nations databases 1 18
University ofTexas. Austin 7. 158
Utah 98

V
Valdes. Dawson 118

Wise.Taki 10. 127

Women Airforce Service Pilots (WASP) 172
Working ,he Waterfron! on Film 156
workstations 1 16. 117. 1 18
World Health Institute 118

Valdez. Debbie 118

World Processor. The 105

Valdez. Juan Carlos 204

Valry. Paul 168

World Resources Instltute 10. 118

World W ar 11 172

Valverde. Ricardo 40

WorldSat InternallOnal 118

WorldWatch 118

Vargas. Kathy 20
Vzquez. Victor 43. 58

Wortham Center 204. 208. 210

Verkin. Paul 156

WSNS Chicago 168

Verkin Studio. Galveston 156

Vesrale. Lo 2 11

Wyan. Ryan 118

Viera. Ricardo 61

Yamada. Ko 164. 165

Villanueva. Maria 118

Vogue 140. 142. 144
von Wangenheim. Chris

W ilson. Dave 160. 161

W inningham. Geoff 167

127

von Goethe. Johann W olfgang 168

Yampolsky. Mariana 205

Yanomami Indians 84
Yoon. Jin-me 170
Young Girl with Flog 1SO. 1S l . 153
Youth League baseball 167

Z
Zendejas. LuIS 205
Zuckerman. Ben (fashion) 142
Zulueta. Ricardo Estanislao 60. 73

COVER CREDITS

INSIDE FRONT COVER

SPINE AND DIVIDER PAGES

Front Cover

Middleton/Liittschwager

l . Keith Hadley, pp. 150-151 . 153

Delilah Montoya

detail from California Brown Pelicon, p. 99

2. Jos Ney, p. 196

INSIDE BACK COVER

4. Annie Lpez, pp. 17. 38

BACK COVER

Pablo Camb

5. Marc Riboud. pp. 77. 86

Ringl & Pit

detail from Esta del Mero 11

6. Generic Fashion image p. 125

detail from Hat and G/oves 1931 , p. 159

Portfolio: los Comestibles, p. 54

7. Sophie Calle, p. 155

detail from Teyolia. p. 39

3. Katia Garca Fayat. pp. 182-183, 197

8. Middleton/Liittschwager p. 99
240

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