Pregnant teenagers pass the time in the alleyways and slum of Parola Tondo district, Manila, Philippines
© Lisa Wiltse
Teenage pregnancy is widespread in the Philippines, especially amongst the poor. In Manila, this contributes to overpopulation and the vicious cycle of poverty, another child borne into the ghettos and a teenage Mom bearing the burden of raising a child before her own maturity and adulthood. An estimated 70,000 adolescent mothers die each year in developing countries.
Young mothers face enormous health risks, obstructed labor is common and results in newborn deaths and deaths or disabilities in the mother.
Children are everywhere, tangible evidence of the city’s teenage pregnancy problem. Every year, 13 out of 100 girls aged between 15 and 19 of the Filipino population get pregnant. Health care for Manila’s urban poor is almost nonexistent, while opportunities to learn about contraception in this strictly Catholic country are rare. (excerpt from burn Magazine)
March 29, 2009–June 8, 2009
Into the Sunset: Photography's Image of the American West examines how photography has pictured the idea of the American West from 1850 to the present. Photography's development coincided with the exploration and the settlement of the West, and their simultaneous rise resulted in a complex association that has shaped the perception of the West's physical and social landscape to this day. For over 150 years, the image of the West has been formed and changed through a variety of photographic traditions and genres, and this exhibition considers the medium's role in shaping our collective imagination of the West. (excerpt press release)
Lê’s tapestries and video installations reveal a two-decade-long introspective journey in which the artist has brought his vision to bear on the dislocation and cultural displacement he experienced, first in fleeing his homeland, then with his immersion in American culture, and ultimately upon the return to his estranged and yet familiar country. Through his art, Lê has sought to negotiate the differing perspectives he holds—Vietnamese, American-Vietnamese, and American—on Vietnam, the American-Vietnam War, and his place in the two societies in which he finds both belonging and alienation.
The Imaginary Country, 2006
Dinh Q. Lê , Three-channel video installation made in collaboration with Tuan Andrew Nguyen and Ha Thuc Phu Nam
By literally and metaphorically weaving together images that speak for his conflicted cultural identity, Dinh Q. Lê’s work allows us to experience the uncertain balance of personal memories within a collective memory forged largely by cinematic constructions. The works in this exhibition embody Lê’s vivid sense of the struggle to find one’s own place within the framework of superimposed, alien, and collective identity. (press release excerpt)
Untitled, 2008/ From the series Hill of Poisonous Trees
Cate McQuaid
Laura McPhee earned a BFA in Art History from Princeton University in 1980, where she studied with Emmet Gowin and a MFA in Photography from the Rhode Island School of Design in 1986. McPhee was awarded a Fulbright Scholarship and Fellowship in 1998 for work in India and Sri Lanka and a residency in Idaho from Alturas Foundation 2003-2005. She was also awarded a New England Foundation for the Arts fellowship in 1995 and a John Simon Guddenhaim Memorial Foundation fellowship in 1993.
Her work is in the collections of the Metropolitan Museum, New York, the Los Angeles County Museum of Art, the Getty Center, the Boston Museum of Fine Arts, the San Francisco Museum of Modern Art, among many others.
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