Enrique, Brooklyn

Inscriptions

Signed and numbered, on reverse: David Armstrong

Label

David Armstrong fotografío a muchos hombres: a veces eran amigos, a veces amantes y a veces ambas cosas. Su retrato de Enrique representa un ceurpo latinx estetizado y sexualidado. Existe una ambigüedad en la frma en que Erique es presentado al espectado: ¿Es un retrato íntimo de un amante o simplemente un amigo que posa para otro amigo? Esta interacción queer entre el sujeto latinx y el fotógrafo anglo evidencia las maneras en que el cuerpo latinx siempre ocupa un espacio de hibridez. Sea por estereotipos de promiscuidad sexual o por cuestiones de identidad cultural, la identidad de la gente latinx puede ser dinámica y flexible, dentro de diversos entornos sociales, culturales y politicos. Enrique también demuestra las formas en que los cuerppos de los latinx han sido glorificados y admirados en la cultura contemporánea de los Estados Unidos. La presencia de cuerpo latinx en el arte y la moda revela las formas en que la comunidad latinx se ha integrado a la cultura commercial mientras aún enfrenta al marginación social y política.

David Armstrong photographed male subjects who were often his friends, lovers, or something in between. His portrait of Enrique represents an aestheticized and sexualized Latinx body. There is ambiguity in the way that Enrique is presented to the viewer—is this an intimate portrait of a lover or simply a friend posing for a friend? This queer interaction between Latinx subject and white photographer describes the ways that the Latinx body always occupies a space of hybridity. Whether in terms of stereotypes about sexual promiscuity or issues of cultural identity, the Latinx identity can be dynamic and malleable with varying social, cultural, and political environments. Enrique also demonstrates the ways that Latinx bodies have been glorified and esteemed in contemporary US culture. Its increased presence in art and fashion is a testament to the ways that Latinx communities are folded into pop and commercial culture while still facing societal and political marginalization.

From the 2019 exhibiton A Space for Dialogue 93, Los Mojados: Migrant Bodies and Latinx Identities, curated by Armando Pulido '19, Class of 1954 Intern

Course History

LALACS 80.2, GOVT 84.6, AAAS 90.1, Latin American, Latino and Caribbean Studies, Identities and Power in the Americas, Lisa Baldez, Spring 2019

ARTH 48.06, Borderlands Art and Theory, Tatiana Reinoza, Spring 2019

PORT 8, Brazilian Portraits, Carlos Minchillo, Winter 2020

WGSS 16.01, Contemporary Issues in Feminism, Mingwei Huang, Spring 2021

Portuguese 8.01, Brazilian Portraits, Carlos Cortez-Minchillo, Winter 2024

Art History 48.02, Histories of Photography, Katie Hornstein, Spring 2024

Art History 48.02, Histories of Photography, Katie Hornstein, Spring 2024

Exhibition History

A Space for Dialogue 93, Los Mojados: Migrant Bodies and Latinx Identities, Armando Pulido, Class of 2019, Class of 1954 Intern, Alvin P. Gutman Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, May 11-June 16, 2019.

David Armstrong: Model Boy, Judy Ann Goldman Fine Art, Boston, Masschusetts, October 13-November 4, 2006.

Publication History

Armando Pulido, Class of 2019, Class of 1954 Intern, A Space for Dialogue 93, Los Mojados: Migrant Bodies and Latinx Identities, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019.

Provenance

Judy Ann Goldman Fine Art, Boston, Massachusetts; sold to John T. Kirk and Trevor Fairbrother, Brookline, Massachusetts, October 21, 2006; collection of John T. Kirk and Trevor Fairbrother, 2006-2012; given to present collection, 2012.

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Subjects