Representations of Latin American Immigrant Laborers

Representations of Latin American Immigrant Laborers:

Documentary in the Digital Age

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Marilyn Waligore, Chair

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Stephen Rabe

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Shilyh Warren

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Erin Smith

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Creative Dissertation: Draft Proposal Representations of Latin American Immigrant Laborers: Documentary in the Digital Age

Introduction

This creative dissertation will examine the place of social documentary photography in the digital age through an exhibition of photographs documenting immigrant laborers in North

Texas. The photographic project will be accompanied by a scholarly essay, which will situate the photographic works within a historical and cultural context of 21st century state border politics and the tradition of social documentary photographs of immigrants and the working class since the late 19th century. My images will challenge social realist images of immigrant laborers, Commented [GJ1]: The proposal gives a clear statement of purpose as well as defines the scope of the creative historically created by rhetoric, that produce the immigrant laborer as merely a worker rather dissertation. than as an individual with a story. In contrast to the dominant tradition of stark realism long associated with social documentary photography, the photographs in this project will be digital collages constructed onto a large 30”x40” white background. The images within the frame will Commented [GJ2]: The proposal clearly explains the creative part of the dissertation. be comprised of a formal portrait of the individual dressed in their best clothes, text covering current wage statistics or work information, maps of the sitter’s home country, and an appropriated traditional ‘straight’ documentary photograph of laborers involved in the same occupation as the sitter. Instead of only including a simple portrait or presenting the laborer while doing their work, the additional information will offer further insight into the individuals portrayed. In this way, I challenge social documentary conventions, which position the photographer as witness to an event and instead will produce both a photographic subject who takes ownership of their own representation and a more engaged viewer. My goal is to challenge the way the immigrant is seen in contemporary culture. Commented [GJ3]: The student shows how the creative dissertation will make a unique contribution. The use of the word ‘document’ in photography was first adopted by Parisian Commented [WM4]: Keywords are concisely defined. photographer Eugene Atget at the beginning of the 20th century and in the 1920s by the Scottish

2 filmmaker John Grierson to apply to nonfiction films about reality.1 The word derives from the

Latin docere meaning to teach. Historically, a documentary photographer bears witness to an event and then employs the image to teach the world about certain truths, which society can choose to support. Like so many before me, I harness the power of documentary photography as a vehicle for representing certain truths about immigrant laborers. However, unlike the traditional use of the documentary photograph, my images will be thoughtfully considered with meticulously assembled compositions created with the aid of the computer after the initial shot. Commented [GJ5]: The student shows what the creative approach shares in common with other artistic creations but also explains how the dissertation will depart from previous These images will serve as a visual method of enlightening viewers about the people who mow creations. lawns, construct homes, clean offices, or help raise children. Instead of merely identifying a worker, the subject will return the gaze while at the same time appearing in their best attire.

Comparable to Diane Arbus, I will be employing my camera as a leveling tool, bringing an outside audience into the immigrant community with the subject in control of their own depiction. The people I will photograph come from vibrant communities with vast social networks. The photographs included in this creative dissertation will serve as a documentary record of the many hardworking immigrant laborers who usually are relegated to the status of

“non-belonging other” and not as an equal.

Defining Documentary

There are many categories and subgenres within the massive umbrella known as

“documentary photography.” According to Arthur Rothstein, who worked for the Farm Security Commented [GJ6]: The student defines the conceptual frame guiding the creative dissertation project. Administration during the 1930s, long-held documentary traditions established the photograph as a vehicle for conveying a social message of truth to its viewer and the photographer as the

1 Rothstein, Arthur. Documentary Photography. Boston: Focal Press, 1986, 1. 3 unbiased, credible witness. 2 Rothstein asserts that a documentary photograph is a simple, realistic one where truths can be revealed and the evidence of the camera, without manipulation, can be used to move and influence viewers. In my dissertation I will challenge the conventions Commented [GJ7]: Again, the student reminds the reader of how the creative dissertation will challenge conventions. established by the documentary tradition that place the photograph as ‘straight,’ while at the same time embracing the tradition of documentary as one which can produce honest photographs. I will argue that a documentary photograph in a contemporary context can be one

st that is assembled from multiple images, text, and other graphics. While 21 century audiences Commented [GJ8]: The thesis for the creative dissertation is articulated. are far more skeptical of the veracity of the photograph, I believe that visual information can still be used as a way to move and influence viewers as Rothstein proposes.

The creative project will focus on unskilled or semiskilled immigrant workers in occupations such as those in the service industry, construction, lawn care, or domestic service.

Included in the creative dissertation will be collaged images that serve as a visual text of labor.

Since viewers are inundated with a sea of images every day, an image of a disadvantaged or underrepresented subject will not have the same impact as one accompanied by a story. Each portrait will be shot against a white backdrop parallel to Richard Avedon’s American West series. However unlike Avedon, I am not drawn to fashion and surface appearance, but rather seek to emphasize human presence. Without the context of the work or home environment, the viewer will be confronted with an image of the laborer as a person rather than constrained by a role or stereotype. Viewers will face a person that they may not have otherwise acknowledged when that individual normally appears in a work environment or in a uniform. My goal is to Commented [WM9]: The aim of the dissertation is clearly stated. present a record of hardworking immigrants who deserve dignity and respect as human beings and the opportunity to be seen outside the context of their workplace. To extend and complicate

2 Ibid., 10. 4 how the viewer sees the subject, each portrait will be presented within a digital collage against a mostly white background. My ultimate goal is to adopt the visual language of photography by a creating a narrative about the millions of people discussed in the news, those who serve us on a daily basis. However, instead of marginalizing the laborer by depicting them in their work environment, or in a uniform, they will be dressed in their best attire and will collaborate in the decisions regarding their portrayal. I intend to create an archive to illuminate the face of the unseen worker and to raise their status from insignificant to equal. Commented [GJ10]: The student continues to elaborate and clarify the scope and content of the creative dissertation. Background

Social documentary photography has been an extension of my professional life for nearly twenty years. I received a Bachelor of Arts in Photography from Texas A&M-Commerce and a

Master of Fine Arts in Photography from the University of North Texas. In addition, I have been teaching photography full-time at Collin College for eight years. Throughout my photographic career, the subject of my work has been the Mexican immigrant and undocumented community. I have a special connection to this subject because my parents are Mexican immigrants. The focus of my most recent body of work, American DREAM, was centered on undocumented college students. Photography served my efforts to raise awareness for the DREAM Act, a bipartisan proposal, which would create a pathway to citizenship for thousands of young students who were brought to the United States as infants and young children.3 For this project, I photographed undocumented college students in their bedrooms to express that these young people exist, and through no fault of their own, are undocumented. Yet, instead of a traditional portrait, one in which the subject’s gaze is directed at the camera, I photographed the students without revealing

3 “The DREAM Act,” accessed July 29, 2014. http://www.immigrationpolicy.org/issues/DREAM-Act. 5 faces so as not to disclose their true identity. Furthermore, some of these sitters share their personal stories, through text included in the images, which amplifies their voice. By adding multiple images and graphics, such as maps, text, and inset frames, a narrative develops within many of the compositions that would not have been possible with a single image. The series

American DREAM has been exhibited in eight solo shows throughout Texas, Illinois, and

Louisiana from 2010 through 2013. A few of these galleries include Women and Their Work

Gallery in Austin, TX, Arrowhead Gallery in Sugar Grove, IL, and at F. Elizabeth Bathea

Gallery, in Ruston, LA.

In addition to teaching photography full time, I currently serve on the Board of Directors of the Society for Photographic Education and I am a former board member of the Texas

Photographic Society. My involvement in the field of photography ranges from teaching to exhibiting and most recently I ventured into curating. In April 2014, I curated an exhibition of images from the Comer Collection at the University of Texas at Dallas titled Physical Labor:

Photographs of Workers 1940 to the Present.

Historical Context

In the spirit of Richard Avedon, August Sander, Irving Penn, and more recently, Peter Yang, my contribution to the humanities will include a photographic record of immigrant laborers currently residing in North Texas who are from Latin American countries. Unlike Avedon who was an outsider from New York, I will have a unique perspective as an insider who comes from a working-class family of Mexican immigrants. My work will be similar to the archives of German documentary photographer, August Sander, who catalogued social types in the period between the two World Wars. Sander’s goal was to create a major archive documenting the diverse social characteristics of the German people. In my portraits, the sitter will have control over their own 6 representation. Instead of simply being a statistic, there will be a face for the viewer to meet and encounter as an equal. Commented [GJ11]: The student situates the project in the creative work of other photographers. In chapter one of the accompanying scholarly essay, I will begin with an examination of the history of social documentary photography through the lens of immigration and labor. In Commented [GJ12]: In this section, the student explains the scope of the scholarly essay. addition to the pioneers of traditional documentary photography, Jacob Riis, Lewis Hine and those who worked for the Farm Security Administration, I will focus on the way images have historically served as a teaching tool by social organizations and the way the documentary practice has traditionally been accepted as truthful evidence of the real. These historical photographers were outsiders capturing images of what photographer and critic Martha Rosler refers to as the “socially disempowered.”4 Riis was intrusive with his method of barging in on unsuspecting immigrants while using a harsh flash to illuminate their dark, grimy homes. The use of the stark image became a convention of documentary as evidence of truth and objectivity.

Hine was more thoughtful in his consideration of the subject not only in the composition but also by asking for names, ages, occupations, and other information. Nonetheless, these photographers, including those who worked for the Farm Security Administration, were making images of the disadvantaged and portraying them as the poor and underprivileged “other.” In contrast, my work will provide images in which my subjects recognize themselves, as they want to be presented. Commented [GJ13]: Again, the student shows how the creative dissertation will depart from previous artistic works The second chapter will address a history of immigration to the United States from Latin in making a unique contribution. Commented [GJ14]: The proposal outlines the structure of America and the motivations leading people to migrate to other countries. There is a broad the scholarly component (essay) and describes its content. history relating to why people from Latin America choose to relocate but the most common is

4 Rosler, Martha. “Post-Documentary, Post-Photography?” In Decoys and Disruptions: Selected Writings, 1975- 2001. Cambridge, Mass: MIT Press in association with International Center of Photography, New York, 2001, 215. 7 often economic. As sociology professors, Roger Waldinger and Michael I. Licther contend,

“Wages at the very bottom of the U.S. labor market tower the alternatives available back home.”5

The United States and its southern neighbor, Latin America, have a long and complicated history that has been extensively examined by scholars such as Stephen G. Rabe, Peter H. Smith,

Gregory Weeks, Kyle Longley, and Mark T. Gilderhus. I will analyze this history to provide a theoretical framework for the photographs. In addition, the chapter will examine the current occupations and wages available to immigrant laborers discussed by the Center for Immigration

Studies.6 This statistical information will also be included within the composition of the digital photograph itself, rather than presented as a separate text.

The third chapter will discuss the contemporary challenges to documentary photography Commented [WM15]: The relevance of the work and scholarship to contemporary dialogues in the field is as a tool for social change in a digital world where audiences are more sophisticated and far addressed. more suspicious of images as evidence of the real. New digital technology, such as the use of animation or other computer-generated material, has forced the challenge to dated theories and definitions of what is real and what constitutes a documentary. Since the 1970s and 1980s, critics such as Allan Sekula and Martha Rosler argued that the documentary photograph should be called into question. Sekula considers an alternative way of working with photographs, involving a “metacritical relation to the documentary genre.”7 As an example, he discusses the work of

Martha Rosler from 1975 called The Bowery in two inadequate descriptive systems. The work is an account of the social construction of the Bowery, and not the Bowery itself as the object of the work. Sekula claims that the title itself begins to question representation and “suggests its

5 Waldinger, Roger David, and Michael Ira Lichter. How the Other Half Works: Immigration and the Social Organization of Labor. Berkeley, Calif: University of California Press, 2003, 5. 6 “Center for Immigration Studies,” http://cis.org. 7 Sekula, Allan. “Dismantling Modernism: Reinventing Documentary (Notes on the Politics of Representation).” The Massachusetts Review, Vol. 19, No. 4, Photography (Winter, 1978), 867. 8 fundamentally flawed, distorted character”. Rosler’s metaphoric use of language brings the viewer indirectly into the realm of the poor and working class instead of through direct photographs. Contemporary social documentaries, whether film or photographic in nature, employ narrative and drama to engage a viewer who may encounter hundreds, perhaps thousands, of photographs daily. In this chapter, I will also discuss the work of contemporary documentary photographers and filmmakers who adopt non-traditional methods to raise social awareness. Commented [GJ16]: The student continues to situate the creative project in the context of the relevant scholarly In a more recent publication, Bending the Frame: Photojournalism, Documentary, and literature. the Citizen, author and critic Fred Ritchin argues that people who aim to change society with the use of a photograph need to do so differently than in the past. Instead of recreating the styles and strategies of previous photographers, images are now often accompanied by other media to persuade and engage society. Documentary photographers, who once relied on print publications to disseminate their work, must now publicize across multimedia platforms. James Balog, founder of the Extreme Ice Survey photographic project, uses 28 cameras across 13 glaciers to record changes in “glaciers every half hour, year-round during daylight, yielding approximately

8,000 frames per camera per year.”8 The project encompasses a book, a website, and a documentary film in addition to being featured on various television news programs and as a

TED talk. I will argue that the photograph as evidence of the real endures, and currently has the political power to raise social awareness despite the proliferation of images society encounters on a daily basis. My final chapter will represent an appendix devoted to the artistic process Commented [GJ17]: The student describes the claims that will be made in the scholarly essay. leading to the generation of the creative work.

8 Ritchin, Fred. Bending the Frame: Photojournalism, Documentary, and the Citizen, New York, N.Y. : Aperture Foundation, 2013, 40. 9 Dissertation Committee

Each person in my dissertation committee was carefully chosen for their expertise in the fields of photography, film, US-Latin American relations, and American literary culture. The chair of the committee is Professor Marilyn Waligore, a photographer and authority in the history of photography as well as contemporary practice in the field. Dr. Shilyh Warren was selected for her expertise in documentary film studies. Dr. Stephen Rabe brings his extensive knowledge in the field of U.S. relations with Latin America. Dr. Erin Smith is a scholar of gender studies and her research interest includes the working class. Commented [GJ18]: The student identifies the committee and their qualifications and experience relevant to the creative project and accompanying scholarly essay. Bibliography

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