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  • ICAA Record ID
    845409
    TITLE
    Miguel Gandert / Van Deren Coke
    IN
    Three generations of hispanic photographers working in New Mexico : John Candelario, Cavalliere Ketchum, Miguel Gandert. -- Taos, New Mexico : The Harwood Foundation of the University of New Mexico, 1993.
    DESCRIPTION
    p. 13-15 : ill.
    LANGUAGES
    English
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION
    Coke, Van Deren. "Miguel Gandert." Three generations of hispanic photographers working in New Mexico : John Candelario, Cavalliere Ketchum, Miguel Gandert,13-15. Exh. cat. Taos, New Mexico : The Harwood Foundation of the University of New Mexico, 1993.
    TOPIC DESCRIPTORS
    NAME DESCRIPTORS
    GEOGRAPHIC DESCRIPTORS
Editorial Categories [?]
Synopsis

After providing an overview of photographer Miguel Gandert’s (b. 1956) educational background, professional experience in photojournalism, and exhibition history, Van Daren Coke conducts a brief analysis of the artist’s photography as documentation of cultural conflict and continuity in New Mexico. Through a consideration of Gandert’s photographs of gang members, penitents, and Indo-Hispanos (individuals of mixed Hispano and Indigenous ethnicity), Coke argues that these images reveal the tension between resilient Hispanic traditions and dominant political and cultural forces in the state. He also suggests that by refusing to subordinate content to form or without sacrificing artistic intent, Gandert brings to light a close connection to his subjects and conveys an understanding of their collective experiences.

Annotations

Van Daren Coke (1921–2004) was a photographer, historian of photography, curator, and the founding director of the University of New Mexico Art Museum in Albuquerque. He wrote this brief yet detailed essay for a catalogue of an exhibition he curated in 1993 at the University of New Mexico in Taos titled Three Generations of Hispanic Photographers Working in New Mexico. The exhibition focused on three Hispanic photographers, of which John Candelario represents the “first generation” (active in the 1930s–40s). Both the exhibit and catalogue offered important long overdue recognition of neglected Hispanic photographers in New Mexico. 

Though written in a very biographical format, Coke does provide an aesthetic framework with artistic reviews of specific photographs that underline his overall curatorial thesis: Candelario (along with photographers Cavalliere Ketchum and Gandert) are exceptional photographers that approached their trade with artistic, as well as documentary, intent. While it would have been helpful to posit Candelario’s œuvre within the spectrum of other non-Hispanic photographers of that period, this essay is one of the few to focus on the art of New Mexico—in this case photographers—and to do so over a 50-year span (1940s–90s). 

For the essay on John Candelario, see doc. no. 845387.

Researcher
Tere Romo.
Team
Chicano Studies Research Center, UCLA, Los Angeles, USA
Credit
Courtesy of the Estate of F. Van Deren Coke (Trustee of the estate of F.Van Deren Coke that is the owner of the copyright of the Work described). The Estate of F. Van Deren Coke donates a copy of the work, Santa Fe, NM