selected works from the permanent collection En Foco / In Focus: Selected Works from the Permanent Collection Published in conjunction with En Foco’s nationally traveling exhibition of the same title Curated by Elizabeth Ferrer En Foco, Inc. (Bronx, New York: 2012) Copyright © 2012 by En Foco, Inc. ISBN: 978-0-9888261-0-6 All rights reserved. No part of this publication may be reproduced or transmitted in any means, electronic or mechanical, without permission in writing from the publisher. Inquiries should be addressed to En Foco, Inc., 1738 Hone Avenue, Bronx, NY 10461. [email protected] www.enfoco.org En Foco’s mission is to support and nurture photographers of diverse cultures, primarily U.S. residents of Latino, African and Asian heritage, and Native Peoples of the Americas and the Pacific. En Foco makes their work visible to the art world while remaining accessible to under-serviced communities, using the photographic arts as a universal means to promote cultural equity, giving a more inclusive portrayal of the artistic contributions made by artists of color, and a supportive platform as they grow into different stages of their careers. Cover: © Louis Carlos Bernal, Dos mujeres, familia López (Two Women, the Lopez Family), 1978/2011 Editor: Miriam Romais Editorial Assistant /Copy Editor: Dani Cattan Book Design: Lisa Marie Perkins www.lisaperk.com Printing: Eastwood Litho, Inc. www.eastwoodlitho.com This book is dedicated to all the current and future photographers with work in the En Foco Permanent Collection. It is an honor to care for and preserve your mark on the world. “We entered the twentieth century generally believing that Americans had a definite shape and color. A remarkable experiment in democracy had led us to the door where myths are made, and we casually accepted a melting pot concept as if it were payment for belonging. As photography set its cast during that early formative period, it established an exclusionary imagery that visually white washed an entire society. An aesthetic developed out of this process, reinforcing additional myths in an attempt to create one ideal form of Americanism, one ideal look and sound. Any other notions were relegated to exotica. It is possible that as the twenty-first century approaches, a new American aesthetic will evolve from the infusion of fresh and fertile energies bursting out of the nation’s constrained corners.” Charles Biasiny-Rivera, co-founder of En Foco, Inc. Excerpt from his editorial in the premiere issue of Nueva Luz (1985) Table of Contents En Foco / In Focus: Selected Works from the Permanent Collection introduction by Bill Aguado, Cultural Activist & Arts Consultant 1 en foco / in focus: selected works from the permanent collection by Elizabeth Ferrer, BRIC Arts | Media | Bklyn 3 part i: the origins of en foco: the 1970s-1980s and the documentary impulse 7 part ii: en foco expands: refLecting diversity and new approaches in American photography (mid 1980s-1990s) 27 part iii: en foco today: photographers looking inward and outward (2000- ) 49 archival desire, creole impulses: reFlections on the importance of collecting visual evidence by Renée Mussai, Autograph ABP 91 epilogue by Miriam Romais, En Foco, Inc. 95 acknowledgements 97 artists in the permanent collection (1974-2012) 101 Photo: Larry McNeil’s work spread out on Light Work’s conference room table, being admired by Hannah Frieser before being prepped for framing. © Miriam Romais Introduction It was June 1975 when I first came across En Foco En Foco to provide the leadership and guidance in and its founding director Charles Biasiny-Rivera. the quest for cultural equity. The early En Foco artists The encounter was in Central Park during the Puerto who survived the pioneering days of the 70s were justly Rican Parade where he had a table with information acknowledged for their professional stature and hence on En Foco and its artists. Little did I know then that as important role models. this chance encounter would result in a decades-long friendship and professional relationship with En Foco. It is also interesting to note that from the mid-80s through the 90s the community arts field blossomed The three-part exhibit, En Foco/In Focus: Selected Works from in spite of inadequate resources. Similarly, artists of the Permanent Collection, describes the three phases in the color were now taking advantage of various educational development of En Foco as well as its constituents. and professional training opportunities. As such, What started as a male, Puerto Rican-dominated core, En Foco began to witness a proliferation of new has expanded to a broad-based, diverse constituency constituents, defining their universe according to their of photographers of all ethnicities, nationalities and new priorities. The initial En Foco generation of artists gender –– or as they should be referred to: “artists.” was looked upon as icons while the second generation Today’s artists have found a true home at En Foco, was establishing their place as creative activists. one that adequately represents and advocates for their interests in this challenging contemporary art world. Let me remind the readers that the 90s were not a fiscal environment where stabilization and growth were As distinguished as En Foco’s track record is for artist encouraged. Governor Mario Cuomo in the early ‘90s services and support systems, it is also a living archive gave the New York State Council on the Arts its most of the struggle for cultural equity for artists and arts draconian cuts ever, 53%. A couple of years later, organizations of color. These important archives, Mayor Rudy Giuliani was advocating extremely harsh especially the art work, reflect the beginning of the budget cuts for community–based art institutions. As if community art movement; that is, En Foco is one New York City’s cuts weren’t enough, his mayoral reign of the few long-standing non-profits whose journey was rife with efforts to censor artists while threatening is reflected in their permanent and expanding art his “arts enemies” with political reprisals. collection. As we move forward in the third generation (late ‘90s From the 1970s to the early 80s, the struggle was to En Foco today), we have seen the dramatic impact for recognition of En Foco’s members as legitimate that technology has had on the arts universe and artists worthy of funding. The strength and quality photography in particular. Today’s artists are vested of the artists enabled En Foco to establish itself as a in mixed media, performance-based art, and as you professional arts organization. As a new generation read this introduction new hybrid art forms with of artists emerged in the 80s, they also depended on photography as its base are coming to the forefront. 1 Photo: En Foco founding members circa 1974 (top left to bottom right): Charles Biasiny-Rivera, Roger Cabán, George Malave, Phil Dante, Nestor Cortijo. Today’s En Foco has had to meet the challenges of the exhibition of En Foco’s artists but also the role En field and have done so within their finite means. Foco played in the cultural development of New York City and beyond. This chronicle of achievement should Through it all, there has been a proliferation of not go unnoticed or unappreciated. All of us today challenges facing organizations like En Foco. From have a stake in the preservation of the cultural histories political interference to corporate and foundation and art forms. En Foco is one such entity that needs retrenchment in their support systems, En Foco and your support. En Foco must prevail and its artists must other like-minded organizations and artists, have prevail as well. been able to withstand the affronts hurled at them. As you experience En Foco’s “Permanent Collection” Bill Aguado exhibition please keep in mind that it is not only an 2 En Foco / In Focus: Selected Works from the Permanent Collection Since its founding in New York in 1974, En Foco has En Foco’s collection reveals a been dedicated to promoting cultural diversity in the field of photography. It has nurtured and supported parallel history of photography photographers of diverse cultures, beginning with Latinos in New York, the focus of its initial efforts in from nearly the last half century, the 1970s, and then soon broadening its mission to perhaps one that is incomplete, embrace photographers of African, Asian, and Native American heritage across the United States. En Foco but that is tantalizing in its has become recognized in the field of photography for its publication Nueva Luz, its highly competitive annual suggestion of a broader, and New Works Photography Fellowship Award, workshops, certainly more complex history and exhibitions. Much less known is the collection that it has amassed of works by many of the photographers than has been presented to who have taken part in its programs and exhibitions date by the great majority over its nearly four-decade history. The collection now numbers nearly 750 prints dating largely from of museums, curators, and the 1970s to the present day and continues to grow. It encompasses not only a plurality of voices but also historians of photography. subject matter, photographic approaches, and points of view. The images presented in this exhibition and this published histories of photography, absent from major accompanying publication offer an introduction into museum surveys, and absent from the significant this significant photographic collection. pubic collections that have come to define the scope of photography, whether to those with a casual interest En Foco’s permanent collection (of which only a small or to serious students and followers of the medium. percentage is presented here) contains example after The photographers who have worked with En Foco example of highly accomplished, innovative work possess unique cultural and social perspectives, and by photographers who remain largely absent from have brought issues to the table that others might the established “canon” of the history of American wish to overlook.