John Singer Sargent once said, “You can’t do sketches enough. Sketch everything and keep your curiosity fresh.” I am an avid people watcher and have published a book of photographs that explores this. As I note in my book, people watching in finding joy in people. I also love to people watch and sketch. Detailed here are some sketches I did last month while in a waiting room.
The last 25 years has seen corporations move into the Times Square area and make it one of the most touristy and congested places in New York City. Interestingly, many of the non-corporate businesses that once dominated the area have migrated to 8th Avenue. Despite the boutique hotels that have risen on 8th Avenue between 34th and 42nd Streets, the area has somehow resisted the gentrification. The Music Building is still there as well as a vintage liquor store, various bars, luggage stores, cheap souvenir stores, blue DVD stores, and New York eateries (I love that 2 Bros. Pizza opened a location in the area) beyond the usual fast food.
Since May of 2022, I have been spending some time in the area and my eye, as well as my camera by proxy, has been drawn to some of the fashions in that area. It is certainly not high-end fashion, but still interesting. It feels like New York City.
Note: This was originally submitted as a paper (originally titled By the people, For the People) for my Master’s degree in Museum Studies at the CUNY School of Professional Studies. The accompanying video was part of the coursework.
From the Muses to the Aristocrats
The memory of humankind can be found in museums. Humanity has a long history of preserving artifacts. Ancient Greeks filled temples dedicated to the muses with scholarship and sculpture. The ancient Greeks coined the term “mouseion” when they first built a temple to the goddesses who kept watch over the arts and sciences known as muses. This tradition would be followed by conquering kings who exhibited spoils of war . Later we had cabinets of curiosity that would become rooms filled with artistic treasures that were the domains of the wealthy elite, open only to the collector and the occasional visitor . The Enlightenment, which concurrently fostered empirical thinking and imperialism, gave rise to the first museums in Europe. Museums in the United States were founded by wealthy patrons who emulated European models and collecting habits.
From the Bottom Up
Five months before the Metropolitan Museum opened its exhibition, Harlem on my Mind, in January of 1969, Thomas P. F. Hoving, Director of the Metropolitan Museum of Art New York City, noted:
“To me Harlem on My Mind is a discussion. It is a confrontation. It is education. It is a dialogue. And today we better have these things. Today there is a growing gap between people, and particularly between black people and white people. And this despite the efforts to do otherwise. There is little communication. Harlem on My Mind will change that.” 
There was no meaningful dialogue. Instead, Harlem residents were excluded from the planning process and artwork by Harlem artist was curiously excluded. The museum instead decided to use oversized photomurals to display images of African American people. The exhibition set off protests that fostered activism from the African American art community that looked to address the patently patronizing discrimination.
Two years before Harlem on my Mind opened, in a stark contrast to The Met, The Smithsonian founded the Anacostia Community Museum in 1967 which focused on local African American history and culture unique to the Anacostia neighborhood. The Smithsonian Institution was founded in 1846 and is the largest museum complex and research center in the world. The Anacostia Community Museum is one of the 19 museums, in addition to a zoological park, nine research centers, and 20 libraries that encompass the Smithsonian. The Anacostia Community Museum is the only Smithsonian museum that has a very local focus. The founding director of the Anacostia Community Museum, John Kinard, was a local minister, civil rights educator, and community activist whose engagement shaped the trajectory of the Museum . The community’s values were embedded in the core ideals of the Anacostia Community Museum. With a focus on local African American experiences and community issues, the Museum evolved its exhibition programs to reflect broad national themes in African American culture in the 1980s. The Anacostia Community Museum is the only Smithsonian museum that has a very local focus. It was the first federally funded community museum in the United States but is under the umbrella of the Smithsonian Institution. The late 1960’s and early 1970’s would see a change stemming from the activism of the day and give rise to museums for the people by people.
The same year the Harlem on My Mind exhibition opened, two museums took root that stemmed from this era of vibrant activism. El Museo del Barrio was founded in Spanish Harlem and was first located in a public school storage room. It focused on the Puerto Rican art from the diaspora that settled in the neighborhood (“El Barrio” is Spanish for the neighborhood). One of the first shows, “The Art of Needlework” was dedicated to the crocheting techniques of Puerto Rican women. Meanwhile, downtown, The Leslie-Lohman Museum, the only art museum in the world to exhibit artwork that conveys the LGBTQ experience, started to take root when Charles Leslie and Fritz Lohman, who had been collecting art for several years, mounted their first exhibit of gay art in their SoHo loft on Prince Street in New York City .
El Museo del Barrio’s founder, Raphael Montañez Ortiz, was part of a coalition of artists pursuing representation in New York museums. Unlike most museums in New York City at the time, El Museo was founded without assistance from wealthy patrons. It filed as nonprofit organization in 1971 . Similarly, after that first loft show in 1969, Leslie and Lohman opened a commercial art gallery devoted to gay art, but it closed in the early 1980s with the arrival of the AIDS epidemic . The pair then rescued the work of artists dying from AIDS from their families who wanted to destroy it. In 1987, the Leslie and Lohman applied for nonprofit status to establish a foundation to preserve their collection of gay artworks and continue exhibitions. The IRS actually objected to the word “gay” in the foundation’s title and hindered the nonprofit application until 1990 .
El Museo moved to its current location in 1977, on the ground floor of the city-owned Heckscher Building, on 5th Avenue and East 104th Street. Meanwhile, the Leslie-Lohman Gay Art Foundation’s first location was in a basement at 127B Prince Street in New York City. In 2006, the Foundation moved into a ground floor gallery at 26 Wooster Street in SoHo. In New York City, two museums took root around the same time that were truly by the people for the people: El Museo del Barrio and The Leslie-Lohman Museum. But are they still for the people? Have they stayed true to their original mission?
The Mirror Manifesto
The annual Museum Mile Festival, which went virtual in 2020, offers free admission to a 30-block stretch of Fifth Avenue for the following institutions: The Africa Center, El Museo del Barrio, the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Cooper Hewitt Smithsonian Design Museum, the Jewish Museum, Neue Galerie and the Museum of the City of New York. In addition to all the art inside, there are outdoor festivities including live music. In August 2019, The New Yorker wrote an article titled “The Battle Over the Soul of El Museo del Barrio ” noting that during the annual Museum Mile festival (of which El Museo was one of the founding members) a group of protesters distributed flyers that read “El Museo Fue del Barrio” (The Museum was from the neighborhood). The protesters read from a printed statement, called the Mirror Manifesto , that accused El Museo of abandoning its core values as a museum for the community of East Harlem. The Mirror Manifesto notes:
“It requires us to first contend with “El Barrio’s” identity. While Puerto Ricans were instrumental in the foundation of the museum, it is not strictly a Puerto Rican museum. It is a museo “del Barrio.” Further, demographic changes in East Harlem and the overall growth of the Latinx diaspora in the last 50 years render the nationalist led push to make El Barrio mean “Puerto Rican” null. If El Museo is to be resuscitated, we must lay these claims to rest and set about addressing who we mean when we say El Barrio.
If El Barrio means neighborhood, or enclave, and we are defining the institution as encompassing a diasporic latinidad, then what we are contending with is what is now being called “Latinx.”
This is distinct from Latin America and should not be confused. For too long, this ambiguity has rendered Latinx artists invisible. Latinx artists continue to be marginalized, underrepresented, and erased. El Museo has shamelessly latched on to this ambiguity and forfeited its original mission. It has done very little as an institution to foster and cultivate Latinx Art.
The museum has failed to launch a studio residency program, it has failed to create an environment where intellectual work for us, by us, can be incubated. It has failed to cultivate diverse board members that represent the Latinx community. It has failed to expand board members beyond funding/development needs, or made sure to its boards’ institutional actions, partnerships, and programs correspond with its mission.
Given the continued failure of El Museo del Barrio to fully embrace its responsibility to the many diasporas that make up the Latinx communities in NYC and across North America, generations of Latinx artists pouring out of BFA, MFA, & PhD programs have come to see the El Museo as irrelevant.
Recent calls to steer the institution back towards its intended mission therefore have remained unanswered. In order to reinvigorate working and emerging Latinx artists to invest their energy in an institution that has gone out of its way to communicate that it cares nothing for their cultural production, the institution must take radical steps to more clearly define what it is. EL MUSEO DEL BARRIO MUST BE EL MUSEO DE LOS BARRIOS. It must fulfill its original mission or relinquish control to the community of Latinx scholars and artists to steer it back on course. It must DECOLONIZE.
Latinx artists, cultural workers, scholars and concerned residents reject the elitism, white washing, LGTBQIA exclusion and anti-blackness perpetrated in the museum against its own museum goers and community of artists.”
How did El Museo get here?
During its first two decades in existence, El Museo’s mission was clearly defined as an institution that researched and displayed the cultural heritage of the Puerto Rican diaspora that lived in Spanish Harlem. By the late 1980s, Spanish Harlem was longer a Puerto Rican enclave; immigrants from Mexico, Central America, and the Dominican Republic had moved into the neighborhood. El Museo, with some struggle, reflected this . However, in 2002, El Museo appointed its first non Latinx director, Julián Zugazagoitia, a Mexican who was previously at the Guggenheim. That same year, an exhibit devoted to Mexico’s most famous artists, Frida Kahlo and Diego Rivera was mounted . For many in El Barrio, elite Latin-American art was overshadowing the El Museo’s grassroots mission. These concerns were fully realized this year when The New York Times reported that El Museo announced that its annual gala would honor Princess Gloria von Thurn und Taxis, a wealthy German art collector known for her connections to the European far-right and Steve Bannon who once complained that Pope Francis is too liberal. After considerable backlash, she was uninvited . Two weeks after that faux pas, El Museo was inundated with complaints over a planned exhibit devoted to Chilean filmmaker and artist, Alejandro Jodorowsky. In the early 1970s, Jodorowsky said that a rape scene he performed for one of his films was real and not staged (something he later recanted). The exhibit was cancelled.
Why hasn’t the Leslie-Lohman Museum encountered similar issues? Both institutions started with the same idea: a museum by the people for people (OR for the marginalized by the marginalized). While both institutions engage the public in comparable ways, the Leslie-Lohman Museum still has not experienced the full growing pains: El Museo was granted nonprofit status nearly twenty years before Leslie-Lohman and it was only in 2011 that the State Board of Regents finally granted a Certificate of Museum Status. However, the Leslie-Lohman museum does publish a quarterly journal, The Archive, while El Museo does not. El Museo’s early research should have been published in a peer-reviewed journal.
Perhaps the one significant thing that distinguishes El Museo from Leslie-Lohman has to do with its very specific geographical connection. The Mexican, Central American, and Dominican immigrants who moved into the neighborhood thirty years ago, as well as most of the Puerto Ricans, are now being forced out via gentrification. The New Yorker article noted that the board includes only one member who lives in the neighborhood. The article also noted that El Museo’s founder, Raphael Montañez Ortiz, now resides in Highland Park, New Jersey. Interestingly, the Brooklyn Museum has recently explored the impacts of gentrification. In November of 2016, anti-gentrification artists and activists protested the Brooklyn Museum when it hosted the 6th Annual Brooklyn Real Estate Summit, which was incongruent with the overwhelming gentrification hitting the communities the museum claims to serve. In April of 2018, an open letter called for the Brooklyn Museum to use the public anger surrounding a curatorial hiring decision (Kristen Windmuller-Luna, a White woman, as an African art consulting curator) as an opportunity to address deeply rooted injustices pertaining to the museum that included the colonial history of the museum’s non-western holdings, the lack of diversity among its curatorial staff and executive leadership, the fact that the museum’s buildings sit on stolen land, and the museum’s role as an agent of gentrification in Brooklyn, a long-standing grievance of community groups.
“We are thus calling for the Brooklyn Museum to participate in the creation of a Decolonization Commission of the kind that has recently been demanded of institutions — like the city’s own American Museum of Natural History — that are being publicly asked to account for their own role in the histories of colonialism and white supremacy. This would send a strong message to the people of Brooklyn, and to other art institutions around the country, about the museum’s will to redress ongoing legacies of oppression, especially when it comes to the status of African art and culture. It could be a first step in rebuilding trust with the communities to whom the museum should be accountable.
This decolonization process would have a time-frame, starting with the acknowledgment that the buildings sit on stolen indigenous land, that they contain thousands of objects expropriated from people of color around the world, and that the institution is governed by a group of majority-white members of the 1% actively involved in the dynamics of racialized dispossession and displacement in Brooklyn. Further steps would entail decisions about the framing of the display of its collection; who is appointed to make these decisions, and in consultation with which communities of conscience in the borough and beyond. Decolonization is never a finished process, but, once undertaken, its logic can and should unfold in ways that are transparent and just.”
El Museo needs to do the same starting inside its own doors. Interestingly, in response to the letter, Anne Pasternak, the director of the Brooklyn Museum, said that the museum “unequivocally” stood by its selection of Kristen Windmuller-Luna for the position.
Regardless of who lives in the neighborhood, El Museo’s leadership should not lose site of the museum’s mission. I would be the first to object if the Leslie-Lohman Museum decided to one day display the work of LGBTQ allies—regardless of their good intentions, they will never understand and properly convey the experience of being LGBTQ, the museum’s mission. The Mirror Manifesto protestors are right, the museum leadership has been gentrified and operating under a disguised blanketed term, “Latin American,” that solely considers the virtue of surname without considering the Latinx communities, and their art, fostered by diaspora (regardless of whether it is from Puerto Rico, Mexico, the Dominican Republic or Central America). And while I certainly think that everyone should experience the work of artists like Frida Kahlo and Diego Rivera, their work comes from a different PLACE (and time) that has little to do with Spanish Harlem, or the Latinx communities now living and creating in New York City and the United States.
The COVID Denouement
Like every other New York City Museum, El Museo shut down in mid-March of 2020. The annual gala, which normally brings in about $1 million dollars, was canceled, event rentals for the newly restored theater space were also cancelled and its store and cafe were closed. A Paycheck Protection Program loan of about $500,000 helped, as well as a $600,000 grant from the Mellon Foundation but they were still losing money. In September, El Museo’s Executive Director was approached by a representative from the Ford Foundation, which had just announced a $156 million initiative called America’s Cultural Treasures, whose contributors include 16 foundations and private donors. El Museo received 68% of its annual budget in one swoop from the Ford Foundation.
Meanwhile, at the Leslie-Lohman Museum, the director, Gonzalo Casals, announced, just before the lockdown in March of 2020, that he was leaving to become the Cultural Affairs Commissioner of New York City. A new director, Alyssa Nitchun, was hired in December of 2020. Nitchun is the first queer woman to lead the museum. The New York Times reported that her first mission will be to expand the institution’s reputation abroad and help secure its financial future: “My dream is that we can scale up, welcoming a whole new group of artists and audiences.” 
Interestingly, the Leslie-Lohman Museum held an exhibition that would have been perfect for El Museo: “Laura Aguilar: Show and Tell,” is a retrospective that was part of “Pacific Standard Time: LA/LA,” a Getty Foundation-sponsored 2017 exhibition of more than 70 concurrent exhibitions in and around Los Angeles that together demonstrated the influence of Latin America and Latino art on the city . In the 1980s, Aguilar came out as gay and in 1986, she began a portrait series titled, “Latina Lesbians.” Meanwhile, at El Museo, it looks like the words and actions of the Mirror Manifesto did not fall on deaf ears.
“Estamos Bien” is El Museo’s first national survey of what it calls Latinx art, using the oft-debated gender-neutral alternative to Latino or Latina, to describe artists of Latin American descents working primarily in the United States. The museum’s original plan was to have the show coincide with, and reflect, two defining 2020 political events: the United States census and the presidential election. The pandemic derailed that. The title, “Estamos Bien” (“We’re fine”) was inspired by a work in the exhibition, a 2017 painting by the Chicago-based artist Cándida Álvarez, completed in the wake of the devastation by Hurricane Maria on Puerto Rico.
The title, “Estamos Bien”, truly embodies El Museo’s history: equal parts of acrimony and hope. However, it is a step in the right direction that promises more and better representation.
 Muses. (n.d.). Retrieved February 6, 2021, from https://public.wsu.edu/~delahoyd/mythology/muses.html
 Margaret M. Miles, War and Passion: Who Keeps the Art?, 49Case W. Res. J. Int’l L.5 (2017) Available at: https://scholarlycommons.law.case.edu/jil/vol49/iss1/4
 Starn, Randolph. “A Historian’s Brief Guide to New Museum Studies.” The American Historical Review, vol. 110, no. 1, 2005, pp. 68–98. JSTOR, http://www.jstor.org/stable/10.1086/531122. Accessed 1 May 2021.
 Alexander, Edward P. Museums in Motion. Chapter 1, “What is a Museum?”
 “Black Artists and Activism: Harlem on My Mind (1969)” Author(s): Bridget R. Cooks American Studies, Vol. 48, No. 1 (Spring 2007), pp. 5-39
 El Museo Timeline, scanned published by El Museo del Barrio in 2004. https://www.dropbox.com/s/itcd0gwvbvt2mg2/el%20museo%20Timeline.pdf?dl=0
 El Museo Timeline, scanned published by El Museo del Barrio in 2004. https://www.dropbox.com/s/itcd0gwvbvt2mg2/el%20museo%20Timeline.pdf?dl=0
 Osorio, Camila “The Battle Over the Soul of El Museo del Barrio” The New Yorker August 13, 2019
 Palacios, Nicholle Lamartina “Latino Art in NYC: A Short History of El Museo del Barrio” Huffington Post https://www.huffpost.com/entry/latino-art-in-nyc-a-histo_b_6305488
 El Museo Timeline, scanned published by El Museo del Barrio in 2004. https://www.dropbox.com/s/itcd0gwvbvt2mg2/el%20museo%20Timeline.pdf?dl=0
 Moynihan, Colin “El Museo del Barrio Drops Plan to Honor German Socialite” The New York Times January 10, 2019.
 Moynihan, Colin “El Museo del Barrio Cancels Jodorowsky Show” The New York Times January 28, 2019.
 Chiusano, Mark “Is rezoning in East Harlem a Trojan horse for gentrification?” AM New York August 28, 2017
 Davis, Ben “Activism Pays Off, as Brooklyn Museum Embraces Anti-Gentrification Forum”
Yesterday, on July 30, 2021, I visited The Met. I primarily went to see the Alice Neel: People Come First exhibition (another blog entry to follow). Of course, I brought my camera. From the moment I got off the train at Penn Station, I found myself pointing my camera upward. After the museum, I wandered around Central Park and Manhattan. It was the first time I had wandered around Manhattan since the summer of 2019. While I was cognizant of the gentrifying construction horrors on what is now being called “billionaire’s row”, it was still a shock to see how much of the skyline had changed—and not for the better. I prefer the skyline when Essex House was what dominated the southwestern side of Central Park.
I hope you enjoy this photo essay. Let me know in the comments below what you think.
Charlotte Powell, Village Painter seems to be following me around. Most recently, it came up in a course I recently completed for my graduate degree in Museum Studies. I also belong to many historical New York City photography groups on Facebook (Al Ponte’s Time Machine – New York and Bronx Third Ave El are two of my favorites) where I have seen it several times as well as websites like Gothamist and Monovision.
About the Photographer
Jessie Tarbox Beals (1870-1942) was a pioneer for women, working as the first published female photojournalist in the United States. While working, she carried heavy camera equipment while donning the bulky women’s fashions of the late 19th and early 20th century. Beals later opened her own studio as a divorced, single mother.
At the turn-of-the-century Beals lived and worked in Greenwich Village, which she photographed extensively. Greenwich Village, which resisted the City planning idea of the grid, was a haven for bohemian artists and writers. Beals may have found like-minded peers. It seemed natural that she would gravitate toward photographing the bohemians of Greenwich Village in New York City—the part of the City that said no to the grid and gave birth the Gay Liberation movement! In her photograph of Charlotte Powell, Beals captured a fellow unconventional woman, dressed in overalls, doing traditional men’s work
Notes on the Photograph
The first thing I would like to note about this photograph is the fact that an early 20th century woman is wearing pants. And she is not wearing pants to be fashionable like Marlene Dietrich, she is wearing overalls, work pants, not unlike Amelia Earhart’s aviator pants. Like Earhart, Charlotte Powell is seen working at what was then considered men’s labor. In contrast to her overall gruff fashion, Powell is wearing a rather delicate looking watch. I couldn’t help but wonder what Beals was wearing when she took this photograph.
We see two sets of stairs in this photograph. Stairs are a principal and practical part of architecture that stand with a sense of purpose. In the same way that water gives and takes life, stairs can bring us up and plunge us down. Powell may be at the bottom of the stone stairs, but she is slowly climbing out of the prison (see the bars on the far right) of cultural norms on a rickety ladder being held together by string, of her making.
I find the sign above Powell concurrently appropriate and irksome. Appropriate because it gives us a geographic marker of sorts and irksome, because the curtains are drawn, and we have no idea what that The Village Store sells. But the sign is also well designed—I admired the way the typeface emphasized The Village.
While writing this, I became more intrigued by the photograph and tried to find this location using Google Maps. I wanted to see if this building was still standing. New York undervalues older buildings. I was unsuccessful in finding the possible location of this photograph.
New York Historical Society Label and Link
Charlotte Powell, Village painter.
Creator / Contributor
Print Room – PR-004-02-13
Subject personal name
Subject geographic name
Material type or medium of original
1 photograph : gelatin silver print ; 10 x 8 inches
This digital image may be used for educational or scholarly purposes without restriction. Commercial and other uses of the item are prohibited without prior written permission from the New-York Historical Society. For more information, please visit the New-York Historical Society’s Rights and Reproductions Department web page at http://www.nyhistory.org/about/rights-reproductions
Last year I noted that 2018 was not a very productive year with regards to photography largely stemming from health issues. 2019 was not much better, but for different reasons. In the fall, I started a Master’s degree in Museum Studies at the CUNY School of Professional Studies. And just before I started at CUNY SPS, I spent time working on the two photography books I self-published in November. The first book, 21st Century Coney Island, is a collection of photographs taken over the course of three years starting in the summer of 2016 and up to August 2019. Proceeds of this book will be donated to Habit for Humanity of Puerto Rico. The second book, A New Yorker in New Mexico, collects photographs from two trips, one in 2012 and another in 2018. Proceeds of this book will donated to the While they Wait fund.
The photographs I am sharing here have not been published anywhere online or in print. They were taken between February and August of 2019. I hope you enjoy this collection.
Thank you for stopping by.
See more of my artwork at edwinroman.com.
I visited the Brooklyn Museum on the opening day of the wonderful and timely exhibition, “Frida Kahlo: Appearances Can Be Deceiving.” I naively thought that I could beat the crowds: after all, I had arrived at admissions at 12 noon, exactly one hour after the museum opened. Instead, I was surprisingly told I would have to wait until 2:30pm to enter the exhibition (in the meantime, I was able to enter and explore the rest of the museum)! My first recommendation is to buy tickets in advance. I checked the website and noticed that weekend shows for the next several weeks are already sold out.
My second recommendation is to put away your phone! Visitors are told that photography is not allowed, but that didn’t stop quite a few rude people from taking out their phones and ruining the experience for others. If you are one of those people who just can’t help themselves, consider this for a moment: when you snap a picture of a painting, that you can probably find online via a museum website, how often do you go back and look it? How often do you study it? Why ruin a rare moment of seeing a painting in person by fumbling with your phone? And if you are snapping a picture on your phone for posting on social media, the exhibition has two interesting displays to do just that before you enter the actual exhibition.
The exhibition is presented thematically, using paintings by Kahlo and peers, photographs, and Mexican ceramics to explore Kahlo’s identity. Clothing and make-up are central to this: for example, Kahlo used native clothing to express her Mexican nationalism. It was surprising to see that she loved using perfume and Revlon products (Revlon is the major supporter of this show). Many of these items had been stored in Casa Azul, the home, Kahlo shared with her husband, muralist Diego Rivera.
One of the most absorbing, and heartbreaking, pieces of art was a lithograph depicting Kahlo’s miscarriage. It was as powerful as the “Henry Ford Hospital” painting, which explores the same subject. I absolutely adored the home movies that were shown, which I saw twice! Among my favorite pieces were the photographs, many of which I had never seen before. Standouts were those by Gisele Freund, known for her documentary photography and portraits of writers and artists.
The major problem with this exhibition is how some of the artwork is displayed, most notably the photographs. Many are presented in groups of four, with two of the four well below eye range. This means that if two people stand in front of the four pictures, others have to wait to properly study and contemplate them (as well as contend with the impolite people who insist on taking pictures). With the crowds, this simply does not work. The first two rooms were rather small with one wasted on a second ticket checkpoint. Yes, there were two checkpoints to get into the exhibition: one at the door and one in front of a wall, projecting images of Kahlo. A wall. Interesting.
It has been over sixty years since Kahlo has passed away, but she still continues to fascinate. This exhibition is worth seeing—but only if you can go during a weekday, with minimal crowds. Each piece is worth quiet contemplation. The exhibition notes how much she loved New York City—the world is here and that is what she embraced and probably why we embrace here today. She is a voice from Mexico’s past conveying the need for more bridges and less walls.
2018 was actually not a productive year for me in terms of photography. I don’t often go out on photo taking trips during the winter months because working the camera and changing and adjusting lenses is difficult while wearing gloves. My first trip out wasn’t until March. I did travel to New Mexico in July and took a lot of pictures, but the following month was hit with a crushing illness that kept me home bound for the rest of the summer and much of the fall. In spite of the illness, I still managed to produce some photographs with those from the New Mexico trip being among my favorites. I hope you enjoy these photographs, I absolutely loved taking them.
The first time I ever saw red rocks was in 2006 when I traveled to Las Vegas and visited Red Rock Canyon. I was in Vegas to see the Star Trek Experience at the Hilton, commemorating the 40th anniversary. Other than the Experience, I found Vegas to be largely tasteless and mind-numbing. Red Rock Canyon and Hoover Dam provided a relief from the smoke-filled overstimulated atmosphere. Red Rock Canyon really made an impression as did the areas outside of the city. It was the first time I had ever experienced the desert and the kind of silence and stillness it offers.
The following year, in 2007, was when I first visited New Mexico. I immediately fell in love! I can recall driving from the Albuquerque Sunport to my hotel in Bernalillo with my eye constantly being drawn to the Sandia Mountains (which still happens). On the third day of that trip, I explored the Jemez Mountain trail and it was here that I first saw New Mexican red rocks. They are nothing short of spectacular. The color is shockingly beautiful. On my third trip in 2018, I saw even more New Mexican red rocks, most notably on my drive to the Ghost Ranch. As I noted in my previous blog entry, the desert varies around the state. I found this to be also true, visually, of the New Mexican red rocks. I did a little research to find out why.
A disclaimer: I am an artist and not a scientist. However, I have a layperson’s interest in science and have done my best to preset reliable information in this blog entry. What I am doing here is trying to get answers to my own observations while presenting artistic photographs. Art and science can co-exist. If you don’t think so, please read this article on Santiago Ramón y Cajal.
Back to the New Mexican red rocks!
According to the Earth Science Club of the New Mexico Institute of Mining and Technology the Earth is made mainly of rocks arranged in three concentric layers. The Earth’s crust contains the rocks we see at the surface. Most rocks are a collection of one or more minerals, but some contain noncrystalline inorganic material (like obsidian) or organic material (such as coal). The ultimate origin of all rocks in the Earth’s crust is the mantle (magma or lava), space (meteorites), or organisms such as plants and animals (organic matter).
According this publication by the NMT Earth Science Club, it notes that the red rocks I saw on the Jemez Trail / Route 4, are rhyolite, an igneous-volcanic type of rock. Interestingly, rhyolite will commonly scratch a knife or hammer. While the red rocks I saw around Abiquiú are sandstone a clastic sedimentary rock composed primarily of quartz grains that may be stained red, brown, pink, or yellow from iron oxides.
I love red rocks and seeing them on a grand scale is an experience I recommend. I think, in part, I love New Mexican red rocks because they remind me of classic New York red bricks. I hope my pictures properly capture these gorgeous colors of nature.
New Mexico. Those who know me well have heard me endlessly rave lovingly about this magical place. New Mexicans refer to their state as, “the land of enchantment” — and it is exactly that! It has culture, diverse landscapes, friendly people and excellent food. July 2018 marked my third visit, but it was my first trip with the intention to create. I have always been inspired by New Mexico and thought that I should properly incorporate it into my art. On this trip, I also discovered something else that fosters this inspiration.
On the evening I arrived in Santa Fe, I noticed a storm brewing in the distance. I watched this marvelous lightning show, with great awe, for about twenty minutes. Later, when I returned to my room, I received an alert via the Weather Channel app about a storm in Bernalillo, located fifty miles away. I couldn’t believe that I could see that very storm from such a distance. I then realized that this is the other way New Mexico inspires me: it expands my sight.
Growing up and living in New York City, in a way, has limited my sight. Yes, New York City is interesting (though becoming less so because of the rampant gentrification), but my eyes work in a very focused way. On the ground level, buildings (and even upstate with the trees) force your vision to work in a much narrower way. In New Mexico, my eyes have to adjust and go into the rarely used wide-angle mode. Before visiting New Mexico, I have never been able to see such distances on land before. I found that it is a great way to open your mind: via an expansion of the senses.
On this trip, I visited places like Taos, Abiquiú, Ponderosa, Cuba, Jemez, White Rock and Bernalillo. I found that the desert in Abiquiú is different from the desert in White Rock. I approached this creative trip taking inspiration from two websites I visit regularly: Wandering New York and New Mexico Nomad. Think of this blog entry as, “Edwin Wanders New Mexico!” I hope you enjoy these photos.
I will be posting more pictures in the coming weeks on my Flickr page.