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Photographic Journal 34374 Enfoco-:nl13_1 9/2/10 10:12 AM Page fc1 NUEVA LUZ photographic journal GROANA MELENDEZ JANETAM Volume 14 No. 3 – U.S. $10.00 LATOYA RUBY FRAZIER COMMENTARY BY DEBORAH JACK NEW WORKS #13 BY ANNE WILKESTUCKER 34374 Enfoco-:nl13_1 9/2/10 10:12 AM Page fc2 A DVERTISEMENT Nuanced Detail 5RMHOLR5H\HV5RGULJXH]ÀQGVWKH ULFKQHVVGHSWKDQGWRQDOYDULDWLRQV KHKDVORQJHGIRUZLWKLQNMHWSULQWLQJ R ojelio Reyes Rodriquez recalls the count- out as the perfect match for the formal potraiture GLYHUVLW\WKDWWKH,Q¿QLW\OLQHKDGWRRIIHUVR, less times he visited the Museum of Fine Arts in work that discriminating photographer was going gave the Canson Rag Photographique and the Houston, TX. As a student in the University of to print. Canson Platine Fibre Rag a try. I quickly discov- Houston’s Graphic Design program, he regularly ered that I was able to fully express my creativity strolled down the galleries to write about the “Once I began printing on Canson’s Baryta through the variety of the paper textures and its various artists on exhibition. He never would SDSHU,ZDVVROGWKHZKLWHVZHUHEULJKWHUDQG amazing qualities.” have imagined that his own work would one day cleaner than anything I’ve ever printed on, giving be acquired by his hometown’s museum’s perma- me the means to tone digitally with extraordi- Rojelio has been described by the San Antonio nent collection. nary precision and not be locked down into a Museum of Art as a “promising new practitioner” given manufacturer’s singular tone values. With in a 2009 exhibition titled, Imagenes de Mexico “I was overwhelmed and I wanted to put my a growing number of museums and collectors where his work was shown alongside Edward best foot forward,” states Rojelio, “With such an interested in my work, I wanted to make certain Weston, Tina Modotti, Paul Strand and Manuel honor, I inevitably found myself taking a really that I produced the highest quality prints. I can Alvarez Bravo among others. Whether working sound look at how to best represent my printed GRWKDWZLWK&DQVRQ,Q¿QLW\SDSHUVDQGKDYH in portraiture or landscapes, or simply document- work in the digital era of printing. It became a complete control over the results”. ing neighborhood life, Rojelio trusts Canson’s quest to give the museum immaculate prints, on SURIHVVLRQDOJUDGH,Q¿QLW\SDSHr range for all his premium paper.” Rojelio’s experience in the darkroom has always EHHQDQHQULFKLQJH[SHULHQFHIURPWKHYHU\¿UVW ¿QHDUWDQGFRPPHUFLDOSULQWV. As a member of En Foco, a NYC-based non- SULQWEDFNLQKLVFROOHJHGD\VWRKLVFXUUHQW¿QH SUR¿WRUJDQL]DWLRQWKDWQXUWXUHVDQGVXSSRUWV art work; each one was done with the utmost care FRQWHPSRUDU\¿QHDUWDQGGRFXPHQWDU\SKRWRJ and respect. The same work ethic applied when raphers of color, Rojelio was introduced to one he transitioned from the chemical darkroom RIWKHVSRQVRUV&DQVRQ,Q¿QLW\D¿QHDUWDQG to the digital darkroom. Rojelio shares that by photo paper manufacturer who was realtively H[SHULPHQWLQJZLWKWKH&DQVRQ,Q¿QLW\VHULHV new in the market. While examining the richness KHKDVEHHQDEOHWRJHWULFKGH¿QLWLRQQXDQFHG www.cansonLQÀQLW\FRP RIWKHVDPSOH&DQVRQ,Q¿QLW\SULQWVDQGIHHOLQJ detail and museum quality pieces, every time. ZZZUH\HVURGULJXH]FRP the charateristics of each of the archival papers, one product Baryta Photographique Paper, stood “I was impressed and I wanted to explore the 34374 Enfoco-:nl13_1 9/2/10 10:12 AM Page 1 NUEVA LUZ Editorial photographic journal volume 14:3 Ta b l e o f C o n t e n t s Editorial . page 1 Groana Melendez . page 2–9 Jane Tam . page 10–19 LaToya Ruby Frazier . page 20–30 Commentary by Deborah Jack . page 31–33 Featured Artists . page 34 Hopkins Intercambio . page 35–38 Mark Critical Mass . .page 39 © Advertising . page 40 NUEVA LUZ STAFF BOARD OF DIRECTORS Editors Sidney Baumgarten, Secretary Miriam Romais Julio Bellber Daniel Schmeichler Mark Brown Design and Frank Gimpaya, Chair Production Susan Karabin Olga Omelchenko Miraida Morales While we don’t often have thematic issues, the stars aligned this summer to surround Luis Rodriguez, Treasurer EN FOCO STAFF Miriam Romais the topic of love and family. In these pages we juggle between those we want to keep Executive Director close but reluctantly let go, and those chosen families with no relation that offer a sense BOARD OF ADVISORS Miriam Romais of having “come home” just the same. These pages are filled with warmth, struggle Program Associate Nadema Agard Hilary Thorsen Terry Boddie and longing – from Deb Jack’s commentary on the featured artists’ individual takes on Leenda Bonilla Programs Assistant family, to Anne Tucker’s words on capturing love, to Adriana Groisman’s inside gaze Elizabeth Ferrer Dee Campos of the intimate world of Tango. Ricky Flores Graphic Design Mary Anne Holley Nita Le Jeff Hoone Speaking of family and love, it is time we wish the very best for one of our own. It is Lisa Perkins Nitza Luna with a heavy heart, yet full of hope for all the opportunities to come, that we announce Co-Founder and Marysol Nieves Director Emeritus Sandra Perez that our Program Director Marisol Díaz is leaving En Foco. Marisol’s dedication and Charles Biasiny-Rivera Bonnie Portelance vision have helped guide many of En Foco’s artists for the past 11 years. She has curat- Original Design Sophie Rivera ed shows, conducted workshops and portfolio reviews, lifted our spirits when things & Concept Orville Robertson Frank Gimpaya Mel Rosenthal got tough and more often than not, was spurred by the tireless enthusiasm of “I have a Ariel Shanberg great idea!” As she wrapped her last New Works exhibition for En Foco this summer, it PRINTING Beuford Smith became time for her to focus on her own new work — and for this we are so proud. Eastwood Litho, Inc. 315/437-2626 DISTRIBUTORS Please join us in wishing her all the best in the world. Armadillo & Co. 800/499-7674 For every end there are new beginnings and the great energy continues as we official- ly hire our long-term intern Dee Campos and welcome our new Program Associate C o p y r i g h t © 2010 by En Foco, Inc. (ISSN 0887-5855) Hilary Thorsen. We can’t wait to see what they bring to the table. On first order is tak- All Rights Reserved • 718/931-9311 ing our family on the road by exhibiting En Foco’s Permanent Collection — starting 1738 Hone Avenue, Bronx, NY 10461 with a sneak peek at the Aperture Gallery this Fall. What better way to show the great www.enfoco.org reach of En Foco’s extensive community of artists? The love is strong. Nueva Luz is published three times per year by En Foco, a non-profit organization supporting fine art and documentary photographers of diverse cultures, primarily U.S. residents of Latino, African and Asian heritage, and Native Peoples of the Americas and the Pacific. Miriam Romais, Spanish translations of the commentary are now available at www.enfoco.org/nuevaluz. Publisher and Editor Nueva Luz is made possible through subscriptions, our Print Collectors Program, the National Endowment for the Arts, the New York State Council on the Arts, and the New York City Department of Cultural Affairs. En Foco is also funded in part by the Rockefeller Brothers Fund, Artography: Arts in a Changing America (a grant and documentation program of Leveraging Investments in Creativity, funded by the Ford Foundation), Senator José M. Serrano, the Carnegie Corporation of New York, Elizabeth Firestone Graham Foundation the Bronx Council on the Arts and JP Morgan Chase, Canson Infinity, Lowepro, Bogen, Archival Methods, Fuji Film, Print File, Modernage Custom Digital Imaging Labs, WNYC.org, members, subscribers and friends. Nueva Luz will make accommodations under ADA guidelines for those needing large print. Cover: Jane Tam, untitled, Can I Come Home With You? series, 2007. Achival pigment print, 11x14" Nueva Luz 1 34374 Enfoco-:nl13_1 9/2/10 10:12 AM Page 2 Groana Melendez, Doña Marta, Kilometro 7 1/2, Santo Domingo, R.D., Family Work series, 2008. Archival pigment print, 17x26" Artist Statement "My parents immigrated to New York in the late 1970's in search of opportunity leaving behind their home, security, and family. They began a new life in the states with me as their only daughter. After more than 10 years of not living in the Dominican Republic, I felt the need to explore the life we would have lived and connect to the part of me that was missing. My return was a return to light, space, and color. I photograph my family because I have a need to immortalize them from my point of view. I act as both a participant and observer. There are different class dimensions in my family; those that can afford certain luxuries versus those that live day by day. Judgments and prejudices are made from one part of the family to the other, and I have attempted to move between the two. I am Dominican and American, an insider and an outsider. The images are taken as an insider during moments of leisure when my family feels at ease. However, the style and detached manner in which the images are made could be that of an outsider. I allow for freedom of expression while still creating a document." Groana Melendez 2 Nueva Luz 34374 Enfoco-:nl13_1 9/2/10 10:12 AM Page 3 Groana Melendez Tia Chea, Gazcue, Santo Domingo, R.D., Family Work series, 2006. Archival pigment print, 20x16" Nueva Luz 3 34374 Enfoco-:nl13_1 9/2/10 10:12 AM Page 4 Groana Melendez Dimas Hernandez, Ciudad Nueva, Santo Domingo, R.D., Family Work series, 2006. Archival pigment print, 17x26" 4 Nueva Luz 34374 Enfoco-:nl13_1 9/2/10 10:12 AM Page 5 Groana Melendez Mami on the Stairs, Washington Heights, New York, Family Work series, 2006.
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