Mr. Speaker, I rise today, to recognize the lasting impact of the photo-journalists of the New York City Puerto Rican Community, as recently displayed at the 2011 New York Photo Festival. The renowned exhibition features eight…
Mr. Speaker, I rise today, to recognize the lasting impact of the photo-journalists of the New York City Puerto Rican Community, as recently displayed at the 2011 New York Photo Festival.
The renowned exhibition features eight photographers, who during the 1970's and 80's catalogued the daily lives and growth of their community. Frank Espada, Joe Conzo, Pablo Delano, Perla de Leon, Ricky Flores, David Gonzalez, Maximo Colon and Francisco Reyes II all became voices of the community through their art. They captured on film the diaspora that makes New York City truly special as well as the everyday pioneers whose struggles inch our nation closer to our founding ideals.
During the decades that span these photos, the Puerto Rican community in New York rose up against prejudices that prevented them from enjoying their equal rights and established a more inclusive pride in their cultural heritage. Amidst the upheaval and hardships, these photographers captured the beauty in their surroundings. Today their work reveals a unique perspective into the rise of the New York's Hispanic Community.
I have attached for the record a recent Daily News article, written by Carolina Gonzalez previewing the exhibition.
Mr. Speaker, these photographers and their work must not be forgotten. Thanks to the efforts of Adriana Teresa Letorney, people from all over the district, the city, the country can discover the visual evidence of the Puerto Rican community in transition, from outcasts to vibrant, integral parts of our great nation.
[From the New York Daily News, May 11, 2011]
Exhibit Sshowcases Work of 8 Photographers Who Documented Puerto Rican
Community in '70s and '80s
(By Carolina Gonzalez)
Several people carry oversize papier-mache puppets
representing the Three Wise Men while others, dressed as
shepherds, herd actual sheep. They walk into one of the
arched passageways along upper Park Ave., making tracks in a
dusting of snow.
This scene from Dia de Reyes is instantly recognizable to
longtime New Yorkers familiar with El Barrio folkways. The
image, taken in 1978 by Frank Espada, is representative of
several dozen on display at a new exhibit dedicated to eight
Puerto Rican photographers documenting their community.
Titled ``Dia''--not after the Spanish word for ``day,'' but
after the Greek word for ``across''--the show is presented at
the FotoVisura Pavilion as part of the annual New York Photo
Festival, which opens today at DUMBO Arts Center, 111 Front
St., Brooklyn, and runs through Sunday.
The images are primarily from the 1970s and 1980s, set in
the South Bronx, East Harlem and the lower East Side. Many
were taken when the photographers were in their 20s.
``What I was looking for was a moment in time that the
Puerto Rican community took a stand in who they were and
started to develop its own voice,'' said curator Adriana
Teresa Letorney.
``It's important for my generation to see that, how this
group became a voice of a community.''
Letorney, who arrived from San Juan eight years ago to
study art, created FotoVisura, the organization sponsoring
the show, as a service for new and veteran photographers,
offering online space to show and share photographs.
``Dia'' is her first show dedicated entirely to U.S.-based
Puerto Rican photographers.
Some of Joe Conzo's shots document protests against the
1981 film ``Fort Apache, the Bronx,'' which many community
members saw as exploiting stereotypes of Bronx Puerto Ricans
as savage criminals.
An image by Espada of young dancers from Ballet Hispanico,
arms in the air and heads back, is as tender as any by Degas.
Some shots have elements burned into the popular
imagination as representative of Puerto Rican communities:
burned-out buildings, run-down businesses, dirty streets.
But as in several images by Pablo Delano, Perla de Leon,
Ricky Flores and David Gonzalez of happy children at play in
these settings, it is clear that where others saw ruins,
these shooters saw life.
For all the photographers, the work comes from a period
when they began to see themselves as serious shooters with a
responsibility to document their communities. But not all
ended up as fine-arts photographers.
Flores continues to work in journalism. Gonzalez is better
known for his journalistic writing, primarily at the New York
Times. De Leon is known as a filmmaker. Conzo's day job is as
an emergency medical technician, although he continues to
document hip-hop and salsa culture as a hobby.
Delano continues to work as a documentary photographer and
as a professor at Trinity College in Hartford, Conn. And
Espada, at 80 the oldest in the group, considers himself
``half-retired.''
The show is presented as a projected slide show, not a
traditional exhibit of printed photos. ``Having it be a slide
show in a way represents how this was a transient stage in
our lives, the impermanence of things,'' Flores said.
``Why aren't more people outside of our community aware of
what happened? How did our history get swept away?''