May 11, 2017 — August 5, 2017
America’s urban streets have long inspired documentary photographers. After World War II, populations shifted from the city to the suburbs and newly built highways cut through thriving neighborhoods, leaving isolated pockets within major urban centers. As neighborhoods started to decline in the 1950s, the photographers in this exhibition found ways to call attention to changing cities and their residents. Down These Mean Streets: Community and Place in Urban Photography explores the work of ten photographers—Manuel Acevedo, Oscar Castillo, Frank Espada, Anthony Hernandez, Perla de Leon, Hiram Maristany, Ruben Ochoa, John Valadez, Winston Vargas, and Camilo José Vergara—who were driven to document and reflect on the state of American cities during these transformative years.
Rather than approach the neighborhoods as detached observers, these artists deeply identified with their subject. Activist and documentary photographer Frank Espada captured humanizing portraits of urban residents in their decaying surroundings. Hiram Maristany and Winston Vargas lovingly captured street life in historic Latino neighborhoods in New York City, offering rare glimpses of bustling community life that unfolded alongside urban neglect and community activism. Working in Los Angeles, Oscar Castillo captured both the detritus of urban renewal projects and the cultural efforts of residents to shape their own neighborhoods. Perla de Leon’s poignant photographs of the South Bronx in New York—one of the most iconic blighted neighborhoods in American history—place into sharp relief the physical devastation of the neighborhood and the lives of the people who called it home. John Valadez’s vivid portraits of stylish young people in East Los Angeles counter the idea of inner cities as places of crime. Camilo José Vergara and Anthony Hernandez adopt a cooler, conceptual approach. Their serial projects, which return to specific urban sites over and over, invite viewers to consider the passage of time in neighborhoods transformed by the urban crisis. The barren “concrete” landscapes of Ruben Ochoa and Manuel Acevedo pivot on unconventional artistic strategies—like merging photography and drawing—to inspire a second look at the physical features of public space that shape the lives of urban dwellers.
The title of the exhibition is drawn from Piri Thomas’ classic memoir Down These Mean Streets (1967), where the author narrates his upbringing in New York City’s El Barrio. Like Thomas, these photographers turn a critical eye toward neighborhoods that exist on the margins of major cities like New York and Los Angeles. The exhibition is drawn entirely from SAAM’s collection and showcases many new acquisitions by Latino artists. It offers a chance to see how these photographers responded to the urban crisis in the communities where they lived and worked.
Down These Mean Streets is organized by E. Carmen Ramos, SAAM's deputy chief curator and curator of Latino art.
The Latino Initiatives Pool of the Smithsonian Latino Center provided generous support for the new acquisitions featured in this exhibition. The Bernie Stadiem Endowment Fund supports the installation and programs.