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.
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Lucas Museum: Celebrating Narrative Art in LA
“Discover the captivating world of narrative art at the Lucas Museum in LA, founded by George Lucas and Mellody Hobson.”
The Lucas Museum of Narrative Art is a remarkable addition to the vibrant cultural landscape of Los Angeles, California. Established by acclaimed filmmaker George Lucas and his wife Mellody Hobson, the museum is poised to become a pivotal hub for visual storytelling across diverse artistic forms.
Lucas Museum
Nestled in Exposition Park, the museum features an extensive collection encompassing myriad artistic mediums. From striking paintings and evocative photography to intricate sculptures and compelling illustrations, the Lucas Museum is dedicated to celebrating the transformative power of narrative art, engaging audiences, and conveying profound messages through its exhibitions. As the museum evolves, it continues to enrich the conversation around art and storytelling, inviting visitors to experience narratives that resonate on multiple levels.
One of the standout features of the Lucas Museum of Narrative Art is its unwavering commitment to inclusivity and diversity. The museum aims to celebrate art from a multitude of cultures and backgrounds, giving voice to underrepresented narratives and perspectives. This focus on inclusivity is not only manifested in the museum’s eclectic collection but is also vividly reflected in its thoughtfully crafted programming and community outreach initiatives. By engaging with local communities and diverse artists, the museum fosters a rich dialogue that honors different traditions and storytelling techniques.
Designed by the acclaimed architect Ma Yansong of MAD Architects, the museum’s stunning building is a work of art in itself. Its unique and innovative architecture seamlessly integrates with the surrounding environment, creating a harmonious space that invites visitors to immerse themselves in the diverse world of storytelling. The dynamic design features flowing forms and open spaces, allowing natural light to play a crucial role in enhancing the overall aesthetic experience. This architectural masterpiece not only serves as a physical shelter for art but also symbolizes the fluid nature of narrative.
The museum’s website, lucasmuseum.org, offers a captivating glimpse into its vision and future exhibits, generating palpable excitement among art enthusiasts and fans of George Lucas’s cinematic legacy alike. It serves as a vital platform for engaging with the museum’s mission and provides ongoing updates about various programs and events that aim to foster a sense of community and anticipation leading up to its grand opening.
The Lucas Museum of Narrative Art stands as a testament to the profound power of storytelling to inspire, educate, and unite people from all walks of life. It embodies George Lucas’s passion for narrative and creativity, creating a space where art can be experienced, appreciated, and understood in its many forms. The museum will not only display art but also offer educational workshops, lectures, and events that will enrich the visitor experience and promote a deeper understanding of narrative as a vital component of human experience.
As the museum prepares to open its doors, the anticipation continues to build, with Los Angeles eagerly awaiting the opportunity to explore the rich world of narrative art. The Lucas Museum promises to become a cultural landmark—an inspiring venue where imagination and creativity converge. It aims to be a place where the stories that shape our lives are not just preserved, but celebrated and explored, ensuring that the legacy of narrative art endures for generations to come.
The museum is set to open in 2025…
For more information please visit: https://lucasmuseum.org/
https://stmdailynews.com/category/entertainment/
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How to make every day recycling day
(Family Features) With so many mixed messages, recycling can feel confusing, but the truth is simpler than you might think. Recycling isn’t just for today – it’s a year-round commitment to a healthier planet.
In honor of National Recycling Day, consider these facts about recycling from the experts and tips to make a difference.
Recycling Is Real
Americans recycle more than 6 billion pounds of plastic every year. Among the plastics recycled, polyethylene terephthalate (PET) remains a responsible material choice. PET is the world’s most recycled plastic, with more than 1.8 billion pounds of PET bottles and containers recovered in the U.S. annually. Since PET bottles can be made from 100% post-consumer recycled content, each recycled bottle contributes to a circular economy where materials are continuously reused instead of wasted.
Recycling PET Plastic is Better for the Environment
Countless others from academics, researchers and industry experts show plastics, such as PET specifically, often have a lower environmental impact. In fact, glass bottles produce three times the greenhouse gas emissions compared to PET bottles, and making an aluminum can produces twice the emissions, according to Life Cycle Assessment studies. Producing PET also uses less energy and water and lowers acid rain and smog potential. Using and recycling PET is a more responsible, more eco-friendly choice than banning plastic outright.
Recycling Saves Energy
Recycling PET bottles requires less energy than producing new glass bottles or aluminum cans. Every PET bottle you recycle helps conserve resources and supports a more responsible production cycle.
Not All Plastics are Created Equal
PET is a superstar among plastics because it can be recycled repeatedly without losing strength or quality. It’s also an inexpensive, lightweight and shatter-resistant package that preserves and protects the food and medicine people place in their bodies.
Recycling Can be Easy
Recycling services can be accessible, with many communities across the U.S. offering easy ways to recycle. Today more than 73% of all U.S. households have access to recycling, according to The Recycling Partnership.
By staying informed, choosing packaging that’s easily recyclable and recycling consistently, you can help build a more sustainable future every day. Visit recyclecheck.org to find out where you can recycle in your community.
5 Recycling Tips
- Know your plastics. Look for the No. 1 recycling symbol – inside three arrows forming a triangular shape – to identify polyethylene terephthalate (PET), helping ensure your recycling efforts are impactful.
- Recycle PET plastic packaging over bans. Choose products packaged in PET bottles where possible, as recycling PET reduces reliance on resource-heavy materials and greenhouse gas emissions.
- See recycling as energy conservation. PET bottle recycling uses significantly less energy compared to producing new glass bottles or aluminum cans.
- Think of recycling as an investment. Every PET container you recycle contributes to a circular economy and more sustainable world.
- Get involved within your community. Connect with local recycling programs and stay updated on your area’s recycling guidelines by visiting recyclecheck.org.
Photo courtesy of Shutterstock
SOURCE:
Amcor Rigid Packaging
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College Life
Campus diversity is becoming difficult to measure as students keep their race and ethnicity hidden on college applications
When the Supreme Court struck down race-based admissions at American colleges and universities just over a year ago, many predicted U.S. campuses would become much less diverse. But in part due to students who decide not to disclose their race or ethnicity, coupled with universities’ selective use of statistics, it is not clear how much the decision has affected diversity on campus.
As higher education institutions begin reporting the racial makeup of the class of 2028 – the first to be affected by the 2023 decision – the data is hard to interpret, confusing and inconclusive.
As a sociologist who has studied how institutions of higher education collect and report data on race and ethnicity, I have identified some factors that contribute to this lack of clarity.
Students don’t identify with choices given
Some students may not select a racial or ethnic category because they don’t believe any of the categories really fit. For example, before multiracial students could select “one or more,” an option that became widely available in 2010, they were more likely to decline to identify their race or ethnicity. Some even boycotted checkboxes entirely.
Other students don’t view their race as important: 67% of the students who choose “race and ethnicity unknown” are white. Of these students, 33% say race and ethnicity are not a relevant part of their identity, a researcher found in 2008.
The number of students who don’t respond to questions about race or ethnicity – and are listed in the “race unknown” category – is increasing. At Harvard University, for example, the percentage of “race-unknown” undergrad students doubled from 2023 to 2024.
As the number of “race unknown” students grows, it not only becomes harder to determine a student body’s ethnic and racial diversity but also the impact of the ban on race-conscious admissions.
Fearing discrimination, students don’t disclose race
Some students believe their race or ethnicity will harm their chances of admission.
This is particularly true at many selective institutions, which have higher nonresponse rates than less selective institutions, about 4% compared with 1% to 2%.
My research shows that students are even more likely to pass on identifying race or ethnicity at selective law schools, where race and ethnicity could be used among a variety of criteria for admissions before the Supreme Court ruled against that practice. An average of 8% of students at those schools chose not to identify, compared with 4% at less selective law schools.
‘We’re very diverse’: University decisions distort statistics
What a university chooses to report will also affect the student body demographic data the public sees. Harvard, for example, does not report its proportion of white students.
Some institutions use statistics strategically to appear more diverse than they are. These strategies include counting multiracial students multiple times – once for each race selected – or including international students as a separate category in demographic pie charts. The greater the number of different-colored slices on the chart, the more demographically “diverse” an institution appears to be.
Impact of Supreme Court ruling: Clearer picture coming soon
While universities may not all report their student demographics the same way in their own materials, they all have to report it the same way to the federal government – namely, to its Integrated Post Secondary Education Data System, better known as IPEDS. The next IPEDS report on characteristics for the 2024 enrollment class is expected to be released in spring 2025. Once that data is available, a better picture of how the Supreme Court’s decision has affected diversity in college enrollment should emerge.
That clearer picture might not last long. In 2027, the federal government will require colleges and universities to make changes to how they report student race and ethnicity. Among the changes is the addition of a Middle Eastern and North African category. Under the current standard, Middle Eastern and North African students are counted as white. As a result, white enrollment at some colleges and universities will appear to decline after 2027.
The new standards will also change the way universities treat Hispanic or Latino ethnicity on enrollment forms. Today, if students self-identify as Hispanic and white, they will be categorized as Hispanic. If students select Hispanic and white in 2027, they will be categorized as multiracial. The revised categories will muddy the impact of the Supreme Court’s decision. A drop in the number of Hispanic students reported could be due to the court’s ruling. Or it may result from the new way students will be counted.
Until universities and colleges adjust to the new guidelines about collecting and reporting race – and as long as students decline to provide their racial identities – the full effect of banning consideration of race in college admissions will remain a cloudy picture at best.
Karly Sarita Ford, Associate Professor of Education and Sociology, Penn State
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/the-bridge
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