A Mexican-American Photographer’s Divided View of Postwar L.A.

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A Mexican-American Photographer’s Divided View of Postwar L.A.
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George Rodriguez captured disparate L.A. worlds: one fantasy-filled and glamorous, the other gritty and politically attuned.

The student walkouts, known as “blowouts,” in Boyle Heights, 1968.As Rodriguez’s career evolved, so, too, did his interest in these seemingly disparate L.A. worlds: one fantasy-filled and glamorous, the other gritty and politically attuned. He continued to work for studios and record labels but also began working as a photojournalist, covering protests, speeches, even the L.A. riots. As he later remarked, “I was really living two lives.

“In photography,” the scholar and curator Josh Kun writes, in his powerful introductory essay, “double exposure typically refers to the photograph, not the photographer.” It occurs when the film is bared to light twice during a single shot, resulting in two exposures in a single image. The effect can be surreal, like a haunting. Taken as a whole, Rodriguez’s work offers a different kind of double exposure.

Mexican-American students in Delano, California, a hub for agriculture and the farmworkers’ movement, 1969.Rudy Rodriguez with the Jackson 5 in Encino, 1971.The California governor Pete Wilson speaks to the staff ofA pool hall in Los Angeles, 1959. A requiem procession for Robert F. Kennedy, who had supported the farmworkers’ movement, the day after his assassination, in East Los Angeles, 1968.

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