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go to an exhibition click on the name of the exhibit
or the artist |
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ON
THE ROAD-DAILY JOURNAL
THE NEW
AMERICANS
Rubén
Martínez/Joseph Rodríguez
| "We
have christened this project The New Americans because
we believe that the migrants are telling the 'natives'
who they are becoming, and because, from our vantage
point, the migrants the 'New Americans' embody everything
that is American, in the broad, continental sense of
the word. In truth, the title owes everything to Joseph
Rodríguez, an extraordinarily faithful and inspiring
friend and magnificent documentary photographer, with
whom I undertook a trip across the U.S. looking for
migrant stories among a Mexican migrant population that
in recent years has fanned out across the country, from
the largest cities on the coasts to the smallest of
'heartland' towns."
Rubén
Martínez
(An ongoing
live project)
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I
REMEMBER
Misha Gordin
| "
For the last 30 years I have been involved in conceptual
photography, where the idea or vision is transformed
by the camera to an image connected to reality only
by my imagination. The initial process is similar to
writing poetry. From there it becomes more technical.
I prefer not to describe the technical aspects of the
process.I believe it diminishes the power of an image."
Misha
Gordin
(21 photographs) |
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GHOST SHIPS
John Will
| "As
the bodies were being removed, the chief engineer hurried
to the bridge where he knew the captian would be. He
took the captain aside and told him what had transpired
on the main deck. Although the captain was alarmed,
he calmly instructed him to do nothing else until future
notice..."
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CIRCUM
Mariana
Méndez
| The
circus: a marvelous world that bursts in without notice
with its multi-colored big top, its music, its textures
and its smells, its lights and shadows, surprising with
its magic the unaware gaze and our fragile heart.
Mariana
Méndez
(14
black and white photographs) |
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María
Teresa García
| Becoming
fifty, in my own personal experience, and I am certain
in many women's is a time to reflect. I have been forced
to look back and to look forward on what is left, making
choices that are of importance to my life and to my
soul. I have photographed myself to contain my images,
to immortalize my living.
(20
color photographs)
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Gerardo
Montiel Klint
| By
creating dreams in front of the camera, I try to understand
an irrational world, and in this process to understand
also my human essence. All my images have been deeply
influenced unconsciously by my own spiritual elements
found all along the process of creating them.
(14 photographs tinted in sepia)
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Mary
Frey
| I
used to take photographs, now I harvest them. I used
to make photographs, now I create them.
(9
color photographs) |
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Dallas
Walters
| It
is my goal to use technology as a tool and not a way
to create some strangabstract photographic piecee by
using sixteen filters and then skewing it into oblivion.
The computer has given me a new creative palette to
have fun with not something to overshadow my abilities.
I am still the one that decides which fork to take!
(14
color photographs) |
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Sabine
Korth
| The
feeling of lightness and the exclusion of borders are
conducive to Sabine's montages: pictures made of sketchy
impressions, contained inside a frame that is not aframe,
just a pause between stories, which seem interconnected
to one another. When she is back home, she makes the
montages. She looks at her contacts like a child looks
at her toys. She plays with them, she dreams through
them, she cuts and pastes her dreams.
(15 black and white photographs) |
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José
Raúl Pérez
| The
Tarot of Marseilles, a medieval version, was the source
that served me as a reference due to it's purity and
style, and because it is after all the oldest set of
cards that is conserved intact. The transformation of
this reference into a contemporary MexicanTarot, suggests
to the spectator the possibility to see themselves as
a destiny that does not escape from the universal order
which was set thousands of years ago.
(22
black and white photographs) |
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Antonio
Turok
| "Chiapas:
The End of Silence" reflects the complex world
and my transformation with it, from my first views of
timeless society to a confrontation with the deeper
realities of the human predicament.
(16
black and white photographs) |
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| Photo
Essay about the personality of Carmen Miranda
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| When
I moved back to Los Angeles as an adult and as a photographer,
I returned to the evocative site of a formative time of
my life. "Fast Forward" is the result of my
ensuing four-year journey into the world of L.A. youth.
(24
color photographs) |
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Anna
LeVine
| I
have spent the past two and a half years working on
a project about the coming-of-age of Mexican girls.
I am American, but I lived in Mexico myself from when
I was thirteen until I was eighteen, so this project
has been an opportunity to retrace my own experience
of coming-of-age there. As the quince años marks
the transition from niña to señorita,
it has been a point of departure for me to explore how
Mexican girls come to see themselves as women.
(10
black and white photographs) |
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Distant
Relations
| This
is a new and Unusual Dialogue between Chicano, Irish
and Mexican artists, writers and composers addressing
themes which their divergent cultures share in common:
Identity, Discrimination, Exile, Hybridity and Multiculturalism,
among others.
The
complete book. (more
than 30 essays and articles) |
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