One day led a new show at the Chazen Museum: ‘You are here: Put people, and purpose in Latinx photography’ – May 10, 1974.
That day, a woman named Dolores in Dallas, Texas, visited her grandfather, carrying a trailer. His grandfather was lying in his age and illness, and the woman was bringing her lunch. Dolores would have told him the good news with joy – she was pregnant. His grandfather cried for joy before eating his meal. The little girl did not know, when she returned to take a trei, she realized it was her grandfather’s last meal.
Dolores continued to give birth to a girl, Pilar Tompkins Rivas, who became the chief administrator at the Lucas Memorial Arts in Los Angeles. He would also continue to serve as the guest editor of the winter version of the Aperture Magazine 2021, ‘Latinx,’ celebrating South American photographers across the country.
In 2024, the Aperture magazine decided to organize an exhibition from its 2021 version of ‘Latinx’. Rivas came in as his supervisor, overseeing his various political and social messages and family warming.
Similar to its touch found in the 2021 ‘Latinx’ version, the exhibition shows not only the social and economic problems facing the South American community but also the community itself with the joy and sadness they experience through their struggle.
For example, one picture shows a little girl and her mother exchanging clothes with others, an act that brings a beautiful smile to the girl’s face. In the other, people are playing water. These two pictures show the economic and social struggle of the South Americans but the conflict is hidden under the warmth of a girl’s smile or fun for people playing with cold water on a hot sunny day.
Another picture is that of a little girl standing in the middle of the garbage yard. He stands alone looking with a sense of insignificant sadness.
According to Van Vleck the Superintendent of the Paper on the Chancellor of the Chazen James R. Wehn, the exhibition aims to bring in South American photographers who were previously excluded from American history records as well as South American communities.
“If you had found a photography course book you would not see many South American photographers represented,” Wehn said. “This is [the exhibit] gIt will be seen by South American photographers in the history of photography, and also to South American communities.”
In addition to human and family showing, this show also addresses the specific problems facing many South American communities in urban environments, especially the issue of improvement. It is more addressed through the work of William Camargo, photo artist from Anaheim, Calif.
Among the other Camargo works in the show, the issue of improvement is brought about by his 8 -picture art clip in which he is seen removing the poster of real estate expansion from the TAA pillar. When his face is hidden behind the poster, he brings helpless and uncomfortable feelings when he looks at events that will eventually force him and his community away from their homes.
Another topic that is being monitored by the exhibition is central, the place between the old and the new house, the lesson that has not been defined by older people such as “Aeneid” of Virgil and Dante Alighieri “Divine Cesters.”
Star Montana and Genesis Báez are good examples, of this among others. Montana, a photographer living in Los Angeles, has functions that promote former and temporary family members.
“Presenting a normal South American photography, he [Montana] refers to the South American diaspora; His family’s loss of trauma and trauma among generations ”James said.
Montana’s work takes the daily life of his family members, and in doing so, it represents the lives of South Americans. Its pieces also mimic the water damage done by the original images he has stored in memory. According to James, the image separation shows how a cultural relationship can ease when people find new ones.
“We have so many people in the United States who have moved, who have come from one place to another. They have to do with where they came from, but they have also set a new path to this place. James said.
Similar Diaspora stories are also seen in the works of photographer Genesis Báez, who was born in New England to Puerto Rico immigrants.
Báez grew up in the United States, but his family maintained a strong relationship with Puerto Rico. He actually went through his culture when he was sent back to Puerto Rico by his mother and his grandmother.
Although he did not live in Puerto Rico, the culture always existed through women in his life. Its pieces include her vague cultural experience through pictures of women’s hair or hugging.
Touching and nurturing are among the women in her picture. While one of the women is torn by the other’s hair, the manner and cunning of acts arising from the thoughts and reminder of the past reflects the vague cultural experience that Báez had to grow.
“His contact with his country, or the place of his family’s origin, has gone through women in his life – has gone through the care and touch and upbringing that takes place in him,” James said.
The exhibition contains various other pieces that depict South American artists and want to promote their culture and photography as part of the US main art by providing museum space for their work.
The exhibition started on December 9, 2024 and will be left open until March 7, 2025.
#Chazens #exhibition #focuses #Latinx #photographers