The Bridge
Photographer Louis Carlos Bernal memorialized the barrios at the US-Mexican border
Rebecca Senf, University of Arizona
Louis Carlos Bernal, a Chicano photographer born in the Arizona border town of Douglas in 1941, invented a style of art photography that honored his Mexican American culture. In the process, he created an indelible record of life in Southwestern barrios – low-income, primarily Spanish-speaking neighborhoods – in the 1970s and 1980s.
He died tragically in 1993 when he was just 52 years old. With his photographs in only a few museum collections, his legacy received little attention over the past three decades. Now, his powerful images are reaching new audiences through a bilingual book and exhibition of 120 photographs.
As chief curator of the Center for Creative Photography at the University of Arizona, I’ve been working with Bernal’s photographs over the past decade. In 2014, his family donated his photographs, negatives, contact sheets, working materials and memorabilia, which allowed us to establish the Louis Carlos Bernal Archive at the center.
The exhibition, which runs from Sept. 14, 2024, to March 15, 2025, will feature the portraits of everyday Mexican Americans from his most famous series of photographs, “Barrios.” And thanks to the work of photography scholar Elizabeth Ferrer, we’ve learned even more about Bernal’s artistic technique, process and goals.
Capturing ‘Chicanismo’
As a child, Bernal was given a camera and became captivated by making photographs. He enrolled at Arizona State University thinking he would become a Spanish teacher, but his fascination with photography won out.
Bernal pursued various projects as he deepened his exploration of photography. He created collages featuring iconic images of former president John F. Kennedy, who, as the first Catholic president, was particularly revered in the Mexican American community. Responding to the Watergate hearings, and interested in the impact of media on public perception, he worked on a series in which he instructed family members to hold a life-size mask of Richard M. Nixon up to their faces. Emulating the work of one of his mentors, visual artist Frederick Sommer, he made abstract images using sculptural cut paper.
Ultimately these experiments gave way to a rich and sustained project of photographing Mexican Americans and their homes.
In doing so, he turned his neighbors, relatives and other Chicanos living in the Southwest into his artistic subjects. Together, the images convey Bernal’s goal of expressing his Mexican American pride, known as “Chicanismo.”
In this way, he was a part of the Chicano art movement, which sought to address the political and cultural concerns of the Mexican American community. Chicano artists highlighted issues such as labor exploitation, immigration, gender roles and racial discrimination. Their goal was to upend stereotypes about Mexican Americans, critique the status quo and cultivate a shared cultural identity.
‘Art of and for the people’
Bernal’s photographs might remind some viewers of snapshots found in a family album, and they do share many qualities with family photographs: They feature people in everyday settings; the subjects are often centered, posing naturally and appearing relaxed; and he preferred color photography, which, by the 1970s, had become a popular way to document birthday parties, holidays and other family milestones.
Bernal, however, gave a lot of thought to the elements in each photograph. He had a process for making pictures just as he envisioned them.
Throughout the many photographs he took inside homes and businesses, and of gatherings of relatives and friends, he deliberately highlighted personal possessions: framed family photographs, altars, posters, religious icons, textiles, and floral and seasonal decorations. Beyond the people in the images, he wanted to convey themes of family, spirituality, home and community.
In a 1982 video interview, Bernal described his process, and how he would “(work) things out in advance in my head before going out.”
This allowed him to work quickly when he was in someone’s home, minimizing the imposition his presence might cause. He also liked to photograph variations of the same setting – for instance, a room with and without family members, or a scene in both color and black and white. Later, he reviewed all the options, selecting the best from a group of images with subtle differences.
In this way, he was able to create photographs from the world around him based on his deep familiarity with Chicano life and culture. These images introduced a way of life to people beyond the barrios. But they held up a mirror for other Mexican Americans, who could easily recognize the scenes.
“The Chicano artist cannot isolate himself from the community,” Bernal said in 1984, “but finds himself in the midst of his people creating art of and for the people.”
Elevating the everyday
Bernal’s process can be seen in a pair of typical portraits.
In “6th Street Barrio, Douglas, Arizona, 1979,” Bernal photographs a young boy in the living room of his family’s home.
The boy represents one point of a triangular composition. A dark brown, upholstered couch acts as the other, while family photographs high on the yellow wall form the apex. Bernal situated himself across from the corner of the room, where a small end table covered with the family’s possessions sat.
The triangular arrangement of the photograph’s key elements – and the symmetry of the vertical line formed by the room’s corner at center – gives the image balance, stability and permanence, reflecting the way family and home serve as an anchor for the Chicano community.
In “Leon Speer’s Barber Shop, Felix Valdivezo & Daughter Patricia, Lordsburg, New Mexico, 1978,” Bernal places the wall of the barbershop parallel to his lens. This choice creates an organized, composed and easily understood environment in which to make a photograph of the barber, the customer and the customer’s daughter.
Through this perspective – and with some help from a row of mirrors and lights – Bernal captures a little world in its entirety, from the tiled floor reflecting sunlight to the collection of items on a shelf below the pressed-tin ceiling. In doing so, Bernal elevates an ordinary place and everyday people as something special to behold. Instead of the spontaneous and candid qualities you might expect from the casual documentation of, say, a child’s first haircut, Bernal has used a deliberate and formal approach, rendering a familiar subject art-worthy.
Bernal’s legacy
Bernal was building this incredible document of contemporary Mexican American culture when his life was cut short.
He had built the photography program at Pima Community College, in Tucson, Arizona, and his photography practice was thriving. But in 1989, as he was biking to work, he was struck by a car. He spent the next four years in a coma, passing away on his birthday in 1993, at age 52.
Although he had achieved acclaim in the U.S., his career was more acknowledged in Mexico, where he had developed a strong community and thriving professional network. Following his death, his work was not widely circulated in the U.S.
With the establishment of his archive, the publication of “Louis Carlos Bernal: Monografía,” and the opening of a large exhibition celebrating his work, I hope his Chicano pride and artistic vision will be introduced to a new generation of viewers, cementing his legacy in the history of American art.
Rebecca Senf, Chief Curator, Center for Creative Photography, University of Arizona
This article is republished from The Conversation under a Creative Commons license. Read the original article.
The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.
https://stmdailynews.com/category/the-bridge
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Chinamaxxing: The Viral Trend Turning Geopolitics Into Aesthetic Fantasy
A viral social media trend called “Chinamaxxing” is turning geopolitics into aesthetic comparison—revealing more about generational frustration than China itself.
At first glance, the videos seem harmless enough.
Clean subways gliding into spotless stations. Neon skylines glowing at night. Clips of high-speed trains, cashless stores, orderly crowds. Overlaid text reads something like, “Meanwhile in China…” or “They figured it out.”
This is “Chinamaxxing,” a loosely defined but increasingly visible social media trend where mostly young users frame China as a model of efficiency, stability, and modernity—often in contrast to life in the West.
What makes the trend notable isn’t just its subject, but its tone. Chinamaxxing is rarely explicit political advocacy. It’s not a manifesto. It’s a mood. Aesthetic admiration blended with subtle critique, delivered through short, visually compelling clips that invite comparison without context.
And that’s precisely why it has sparked debate.
What Is “Chinamaxxing,” Really?
Despite the provocative name, Chinamaxxing isn’t a coordinated movement or ideology. It’s better understood as an algorithm-driven pattern—a recurring style of content that rewards certain visuals and emotional cues.
Most Chinamaxxing content emphasizes:
- Infrastructure and urban design
- Technology embedded in daily life
- Perceived order and efficiency
- Implicit contrast with Western dysfunction
What it typically omits:
- Political repression and censorship
- State surveillance
- Limits on speech and dissent
- The lived diversity of Chinese experiences
The result is a highly curated portrayal—less about China as a nation, and more about what viewers want to believe is possible somewhere else.
Why It’s Gaining Traction Now
The rise of Chinamaxxing says as much about the West as it does about China.
For many young users, particularly Gen Z, the backdrop is familiar: rising housing costs, student debt, healthcare anxiety, political polarization, and a growing sense that institutions no longer function as promised.
In that environment, visually persuasive content showing order and functionality carries emotional weight. It offers relief from chaos—real or perceived.
Social platforms amplify this effect. Short-form video rewards clarity, contrast, and immediacy. A clean subway platform communicates more in five seconds than a policy analysis ever could. Nuance does not trend well. Aesthetics do.
The Social and Political Criticism
Critics argue Chinamaxxing crosses a line from curiosity into distortion.
By focusing exclusively on infrastructure and surface-level efficiency, the trend risks:
- Normalizing authoritarian governance through lifestyle framing
- Reducing political systems to consumer experiences
- Ignoring the tradeoffs that make such systems possible
Supporters counter that Western media has long flattened China into a single negative narrative, and that admiration for specific aspects of another society is not the same as endorsing its government.
Both perspectives, however, miss something important.
What the Trend Actually Reveals
Chinamaxxing isn’t primarily about China. It’s about disillusionment.
It reflects a generation that:
- Feels let down by existing systems
- Engages politics emotionally rather than institutionally
- Uses visual culture to express dissatisfaction indirectly
In this context, China becomes a projection surface—not because it is perfect, but because it appears functional.
That distinction matters.
Why This Matters
Chinamaxxing highlights how political understanding is evolving in the digital age. Governance is increasingly consumed not through debate or civic participation, but through comparison clips, memes, and aesthetics.
The risk isn’t admiration. It’s oversimplification.
When complex societies are reduced to visuals alone, public discourse loses depth. But when those visuals resonate, they also signal real unmet needs: stability, competence, and trust in institutions.
Ignoring that signal would be a mistake.
The STM Daily News Perspective
Chinamaxxing is not an endorsement, a conspiracy, or a joke. It is a cultural artifact—one that reflects generational anxiety, algorithmic storytelling, and the widening gap between expectations and reality.
The question it raises isn’t whether China is better.
It’s why so many people feel their own systems are no longer working.
Related Reading
- BBC News: China Coverage and Global Context
- The Atlantic: Technology, Media, and Internet Culture Analysis
- Pew Research Center: Global Attitudes and Political Perception
- The New York Times: China and International Affairs
- Brookings Institution: China Policy and Global Governance
More on This Topic from STM Daily News
Stay tuned to STM Daily News for more stories exploring internet culture, social media trends, and how digital platforms shape public perception. We’ll be publishing in-depth pieces that break down the societal impact of viral phenomena like Chinamaxxing, the psychology behind online political trends, and the evolving language of Gen Z culture.
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A Legacy of Service: How family stories shape service
Legacy of Service: Discover how military service creates lasting family legacies across generations. Explore powerful veteran stories from the Veterans History Project, including Pearl Harbor survivors and Code Talkers, and learn how to preserve your family’s service history.
Last Updated on February 6, 2026 by Daily News Staff
A Legacy of Service: How family stories shape service
(Family Features) Major historical events like war or military service make a lasting impact on family identity, values and traditions, often reverberating across multiple generations. Veterans frequently speak about their military units as if they were family, given the unbreakable bonds that develop between comrades. However, for some veterans, “brothers in arms” is more than a figurative turn of phrase. Throughout the 20th century, entire families felt the firsthand effects of war, with multiple generations serving. Brothers enlisted together. A father’s military legacy inspired his children to join up. Sweethearts met and married while in uniform. These stories not only illustrate the experiences of individual veterans but also provide an intimate glimpse into family legacies of military service. Consider the Veterans History Project, a program overseen by the Library of Congress, which collects and preserves the firsthand remembrances of U.S. military veterans and makes them accessible for future generations to better understand veterans’ service and sacrifice. These personal stories encompass original correspondence, memoirs, diaries, photographs and oral history interviews, all offering deeper insight into the long-term impact of military service. Veterans’ narratives are collected by volunteers, and anyone who served from World War I to today can submit their personal story, regardless of whether or not they saw combat. The collections frequently shed light on the importance of family in military experiences. Whether expressed through heartfelt letters home, enduring family legacies of service or the experience of serving alongside loved ones, these stories reflect profound connections.
Family Identity During the Cold War, Jennifer McNeill rose from Army Dental Assistant to Command Sergeant Major at the Army Eisenhower Medical Center in Fort Gordon, Georgia. Her collection includes a poignant photograph of her mother sharing images of her four military daughters in uniform, underscoring how family identity and military service are closely connected. Values Military service makes a lasting impression on veterans, shaping the experiences and the values that guide them through life. Ray Chavez is one such example. He was the oldest known Pearl Harbor survivor before his passing in 2018. For most of his life, he remained silent about his experiences, but in 1991, his daughter, Kathleen Chavez, who served in the U.S. Navy during Desert Storm, convinced him to return to Pearl Harbor. That trip marked the first time he spoke openly about his service. Kathleen shared their family’s deep military legacy in her oral history for the Veterans History Project. Traditions Across Generations Serving in the military is a deeply personal journey, but for many veterans, it’s an experience that transcends generations. Bill Toledo enlisted in the Marine Corps in October 1942 at the age of 18. Along with his uncle, Frank Toledo, and cousin, Preston Toledo, he served as a Code Talker transmitting military messages through secret codes. In his oral history, Bill vividly recalled both the challenges of combat during the invasion of Iwo Jima in February 1945, and the treasured moments spent with his uncle. These and many other family stories of military service and remembrance are available to the public at loc.gov/vets. Photo courtesy of Shutterstock (men looking at scrapbook)
Photo courtesy of the Library of Congress (man and woman on park bench) Author
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Bad Bunny’s Super Bowl Halftime Show Fits the NFL’s Long Game to Win Latin America
The NFL aims to expand its reach into Latin America through strategic marketing and high-profile performers like Bad Bunny at the Super Bowl halftime show. While the choice has sparked controversy, particularly among conservatives, the league sees it as a business move to attract more fans, particularly in Mexico and Brazil.
Jared Bahir Browsh, University of Colorado Boulder
Bad Bunny’s Super Bowl show is part of long play drawn up by NFL to score with Latin America
Donald Trump, it is fair to assume, will be switching channels during this year’s Super Bowl halftime show.
The U.S. president has already said that he won’t be attending Super Bowl LX in person, suggesting that the venue, Levi’s Stadium in Santa Clara, California, was “just too far away.” But the choice of celebrity entertainment planned for the main break – Puerto Rican reggaeton star Bad Bunny and recently announced pregame addition Green Day – didn’t appeal. “I’m anti-them. I think it’s a terrible choice. All it does is sow hatred. Terrible,” Trump told the New York Post.
National Football League Commissioner Roger Goodell likely didn’t have the sensibilities of the U.S. president in mind when the choice of Bad Bunny was made.
One of the top artists in the world, Bad Bunny performs primarily in Spanish and has been critical of immigration enforcement, which factored into the backlash in some conservative circles to the choice. Bad Bunny’s anti-ICE comments at this year’s Grammy Awards will have only stoked the ire of some conservatives.
But for the NFL hierarchy, this was likely a business decision, not a political one. The league has its eyes on expansion into Latin America; Bad Bunny, they hope, will be a ratings-winning means to an end. It has made such bets in the past. In 2020, Shakira and Jennifer Lopez were chosen to perform, with Bad Bunny making an appearance. The choice then, too, was seen as controversial.
Raising the flag overseas
As a teacher and scholar of critical sports studies, I study the global growth of U.S.-based sports leagues overseas.
Some, like the National Basketball Association, are at an advantage. The sport is played around the globe and has large support bases in Asia – notably in the Philippines and China – as well as in Europe, Australia and Canada.
The NFL, by contrast, is largely entering markets that have comparatively little knowledge and experience with football and its players.
The league has opted for a multiprong approach to attracting international fans, including lobbying to get flag football into the 2028 Olympics in Los Angeles.
Playing the field
When it comes to the traditional tackle game, the NFL has held global aspirations for over three-quarters of a century. Between 1950-1961, before they merged, the NFL and American Football League played seven games against teams in Canada’s CFL to strengthen the relationship between the two nations’ leagues.
Developing a fan base south of the border has long been part of the plan.
The first international exhibition game between two NFL teams was supposed to take place in Mexico City in 1968. But Mexican protest over the economy and cost of staging the Olympics that year led the game, between the Detroit Lions and Philadelphia Eagles, to be canceled.
Instead, it was Montreal that staged the first international exhibition match the following year.
In 1986, the NFL added an annual international preseason game, the “American Bowl,” to reach international fans, including several games in Mexico City and one in Monterrey.
But the more concerted effort was to grow football in the potentially lucrative, and familiar, European market.
After several attempts by the NFL and other entities in the 1970s and ’80s to establish an international football league, the NFL-backed World League of Football launched in 1991. Featuring six teams from the United States, one from Canada and three from Europe, the spring league lost money but provided evidence that there was a market for American football in Europe, leading to the establishment of NFL Europe.
But NFL bosses have long had wider ambitions. The league staged 13 games in Tokyo, beginning in 1976, and planned exhibitions for 2007 and 2009 in China that were ultimately canceled. These attempts did not have the same success as in Europe.
Beyond exhibitions
The NFL’s outreach in Latin America has been decades in the making. After six exhibition matches in Mexico between 1978 and 2001, the NFL chose Mexico City as the venue of its first regular season game outside the United States.
In 2005, it pitted the Arizona Cardinals against the San Francisco 49ers at Estadio Azteca in Mexico City. Marketed as “Fútbol Americano,” it drew the largest attendance in NFL history, with over 103,000 spectators.
The following year, Goodell was named commissioner and announced that the NFL would focus future international efforts on regular-season games.
The U.K. was a safe bet due to the established stadium infrastructure and the country’s small but passionate fan base. The NFL International Series was played exclusively in London between 2007 and 2016.
But in 2016, the NFL finally returned to Mexico City, staging a regular-season game between the Oakland – now Las Vegas – Raiders and Houston Texans.
And after the completion of upgrades to Latin America’s largest stadium, Estadio Azteca, the NFL will return to Mexico City in 2026, along with games in Munich, Berlin and London. Future plans include expanding the series to include Sydney, Australia, and Rio de Janeiro, Brazil, in 2026.
The International Player Pathway program also offers players from outside the United States an opportunity to train and earn a roster spot on an NFL team. The hope is that future Latin American players could help expand the sport in their home countries, similar to how Yao Ming expanded the NBA fan base in China after joining the Houston Rockets, and Shohei Ohtani did the same for baseball in Japan while playing in Los Angeles.
Heading south of the border
The NFL’s strategy has gained the league a foothold in Latin America.
Mexico and Brazil have become the two largest international markets for the NFL, with nearly 40 million fans in each of the nations.
Although this represents a fraction of the overall sports fans in each nation, the raw numbers match the overall Latino fan base in the United States. In recent years the NFL has celebrated Latino Heritage Month through its Por La Cultura campaign, highlighting Latino players past and present.
Latin America also offers practical advantages. Mexico has long had access to NFL games as the southern neighbor to the United States, with the Dallas Cowboys among the most popular teams in Mexico.
For broadcasters, Central and South America offer less disruption in regards to time zones. Games in Europe start as early as 6:30 a.m. for West Coast fans, whereas Mexico City follows Central time, and Brasilia time is only one to two hours ahead of Eastern time.
The NFL’s expansion plans are not without criticism. Domestically, fans have complained that teams playing outside the U.S. borders means one less home game for season-ticket holders. And some teams have embraced international games more than others.
Another criticism is the league, which has reported revenues of over US$23 billion during the 2024-25 season – nearly double any other U.S.-based league – is using its resources to displace local sports. There are also those who see expansion of the league as a form of cultural imperialism. These criticisms often intersect with long-held ideas around the league promoting militarism, nationalism and American exceptionalism.
Bad Bunny: No Hail Mary attempt
For sure, the choice of Bad Bunny as the halftime pick is controversial, given the current political climate around immigration. The artist removed tour dates on the U.S. mainland in 2025 due to concerns about ICE targeting fans at his concerts, a concern reinforced by threats from the Department of Homeland Security that they would do just that at the Super Bowl.
But in sticking with Bad Bunny, the NFL is showing it is willing to face down a section of its traditional support and bet instead on Latin American fans not just tuning in for the halftime show but for the whole game – and falling in love with football, too.
Jared Bahir Browsh, Assistant Teaching Professor of Critical Sports Studies, University of Colorado Boulder
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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