BGuthrie Photos: DC -- Donald W. Reynolds Center (SAAM) -- Exhibit: Down These Mean Streets

DC -- Donald W. Reynolds Center (SAAM) -- Exhibit: Down These Mean Streets:

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Description of Pictures: Down These Mean Streets
May 12, 2017 – August 6, 2017
The exhibition examines how Latino photographers depicted America’s urban streets when notions of the inner city began to emerge. The title of the exhibition is taken from Piri Thomas’ bestselling memoir Down These Mean Streets (1967), in which the author narrates his tough upbringing in New York City’s El Barrio.

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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[1] SIPGMS_170513_01.JPG	[2] SIPGMS_170513_09.JPG	[3] SIPGMS_170513_12.JPG
[4] SIPGMS_170513_16.JPG	[5] SIPGMS_170513_24.JPG	[6] SIPGMS_170513_27.JPG
[7] SIPGMS_170513_30.JPG	[8] SIPGMS_170513_34.JPG	[9] SIPGMS_170513_38.JPG
[10] SIPGMS_170513_43.JPG	[11] SIPGMS_170513_46.JPG	[12] SIPGMS_170513_54.JPG
[13] SIPGMS_170513_59.JPG	[14] SIPGMS_170513_63.JPG

Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIPGMS_170513_01.JPG: Down These Mean Streets: Community and Place in Urban Photography The American city underwent unprecedented transformations after World War II. As middle-class populations shifted to the suburbs and new highways cut through thriving neighborhoods, many cities began to experience economic and social disintegration, especially in Black, Latino, and working class communities. Down these Mean Streets: Community and Place in Urban Photography unites the work of ten artists who critically reflect on the state of urban America primarily between the 1960s and early 1980s, when government initiatives that sought to address the needs of cities in crisis sparked public debate. The title is drawn from Piri Thomas's classic 1967 memoir Down these Mean Streets. Like Thomas, their work challenges perceptions of embattled cities and explores the human narratives that unfolded in communities across the United States. This exhibition examines how Latino photographers, many of whom came of age in urban neighborhoods, frame their environment. They approach the street not as detached observers but as engaged participants by turning to portraiture, urbanscapes, serial photography, or unconventional manipulations of the photographic image. Many contribute to a long tradition of socially driven documentary photography. Others adopt conceptual strategies or use color photography to capture a less romantic image of the American city. Their work reexamines neighborhoods often viewed as places of social decline and affirms the strength of community in urban America.
2. SIPGMS_170513_16.JPG: Altered Sites #7 1998, printed 2016 inkjet print Manuel Acevedo born Newark, NJ, 1964 At left, a "Do Not Enter" sign turns away passersby from a deteriorating street corner. Meanwhile, a structure drawn by the artist on the photograph rises up to the heavens and welcomes birds. Manuel Acevedo reimagines the streets of his hometown of Newark, New Jersey, a city shaped by periods of unrest and urban renewal initiatives that tore down existing housing to erect massive housing projects. "I drew on top of the photograph," Acevedo reflected, "to transform the bleakness of underutilized landscapes into visionary architectural proposals." His photograph unleashes the potential of derelict public spaces.
3. SIPGMS_170513_24.JPG: What if walls created spaces? 2007 lenticular print mounted on aluminum composite Ruben Ochoa born Oceanside, CA, 1974 Ruben Ochoa deliberately tampers with the appearance of the I-10, a freeway that runs through East Los Angeles. He created a lenticular print that interlaces two different views of a freeway wall. As viewers walk past his photograph, the wall partially disappears, opening up a portal into an imaginary verdant landscape. Ochoa's playful gesture alludes to the communities located on the other side of freeways. Starting in the 1950s, freeways like the I-10 were built through many working class neighborhoods in Los Angeles, despite community protests. These massive roads connected suburbs to major metropolises, yet isolated Chicano and African American neighborhoods from the social and economic fabric of the surrounding region. Ochoa's title poses a question that invites viewers to ponder the impact of the built environment on inner-city residents.
4. SIPGMS_170513_34.JPG: On the Sidelines Anthony Hernandez has devoted his career to examining the landscape of his native Los Angeles. In the late 1970s, Hernandez started using a large format camera to capture a detailed and panoramic view of people in their milieu. His Public Transit Series explores the daily life of urban commuters who rely on public transportation in a region that is dependent on cars. Would-be passengers wait, suspended in time, for a bus that, it seems, will never arrive. These serial and repetitive photographs -- each includes a wide street with no bus in sight -- emphasize the perpetual nature of waiting. People stand or sit, separated from the open road, as symbols of physical and social mobility. Hernandez's subdued approach reveals the impact of Los Angeles's car culture on inner city residents.
5. SIPGMS_170513_38.JPG: Children at Play 1965, printed 2016 Hiram Maristany born New York City, 1945
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