Picturing Activism

Online Gallery of Down These Mean Streets: Community and Place in Urban Photography

Frank Espada, Untitled (Two boys, East New York), 1964, gelatin silver print, Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center, 2015.22.8, © 1964, Frank Espada Photography
Untitled (Two boys, East New York)
Date1964
gelatin silver print
Not on view
Frank Espada, Untitled (Boy in front of condemned building, East New York), ca. 1960-1964, gelatin silver print, Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center, 2015.22.3, © Frank Espada Photography
Untitled (Boy in front of condemned building, East New York)
Dateca. 1960-1964
gelatin silver print
Not on view
Frank Espada, Untitled (Two boys in a wagon, Long Island City), 1956, gelatin silver print, Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center, 2015.22.2, © 1956, Frank Espada Photography
Untitled (Two boys in a wagon, Long Island City)
Date1956
gelatin silver print
Not on view
Frank Espada, Untitled (Young girl, East Harlem), 1974, gelatin silver print, Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center, 2015.22.11, © 1974, Frank Espada Photography
Untitled (Young girl, East Harlem)
Date1974
gelatin silver print
Not on view
Frank Espada, Tito (Blake Avenue, East New York), 1963, gelatin silver print, Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center, 2015.22.6, © 1963, Frank Espada Photography
Tito (Blake Avenue, East New York)
Date1963
gelatin silver print
Not on view

Photographer Frank Espada was also a respected activist who fought for improved living conditions in African American and Puerto Rican neighborhoods across New York City. The sharp contrasts that he witnessed inspired a series of informal portraits that emphasized the humanity of urban residents. His young subjects, who often pose in front of burnt-out buildings or stand on garbage-ridden streets, smile at the camera, play with complete abandon, or present a veneer of toughness. Espada’s photographs shift between conveying hope and social critique, as they capture the beauty and individuality of children growing up in harsh environments.