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This web site presents
the work of Esther Parada accompanied by texts taken from her writings.



Interactive installation of The Monroe Doctrine, Centro Cultural de la Raza, San Diego, CA, 1998

Lectures
A complete list of lectures can be found in Ms. Parada's resume. Click links below to see selected examples.

The Constructed Image: Photography in the 21st Century, lecture for Provost’s Cutting Edge Seminar Series, UIC, Chicago

To Make All Mankind Acquaintances, lecture as part of University of Wisconsin, Milwaukee, Center for Twentieth Century Studies Spring Series

Agents of Change [Tale of Three Continents], lecture as part of keynote panel, Fifth National Photography Conference, Derby, England, 9/22/95

Up/rooting: A Meditation on Tradition & Change, Society for Photographic Education
National Conference, Chicago; keynote lecture as Honored Educator.

Presentation of Extended Family work-in-progress. “Case Studies in Integrated Curriculum,” CAPE (Chicago Arts Partnerships in Education), Chicago, August 1993.

Arts Club talk with Michael Anania, Chicago, Illinois, 4/9/97


Artist Statements
2-3-4-D: Digital Revisions
in Time and Space

A Thousand Centuries
At the Margin
Peace Corps
Friends and Deliverers
Heimat Bayern: für wen?
Memory Warp
Native Fruits
Past Recovery
The Monroe Doctrine
When the Bough Breaks
Who Dis/Covers — Who Dis/Colors

Publications
This list of publications includes articles or reviews by Esther Parada, as well as poster, booklet, and photo-text works designed for offset publication. See her complete resume for more details.

2002 “When the bough breaks: Loss of tradition in the urban landscape,” Journal of Social Theory in Art Education, #22

2000 “Homeland Bavaria — for whom?,” The German Quarterly, vol. 73, #2

2000 “Jewels, Native Fruits, and Ragged Merchandise: Imaging Latin America,” photo-text essay for Photographs at St. Lawrence University: A Critical Survey and Catalogue of the Permanent Collection of the Richard F. Brush Art Gallery.

1998 Preserve the Nature of our Village, & Their Place Knows Them Not; two offset posters created to accompany Canopy exhibition at Bunting Institute

1998 Digital Frontiers: Photography’s Future at Nash Editions; CD-ROM published in conjunction with group exhibition at George Eastman House, Rochester, NY

1998 “Native Fruits” a photo-text work published in New World [Dis]Orders and Peripheral Strains, MARCH/Abrazo Press, Chicago; pp. 36-37

1996 “To Make All Mankind Acquaintances,” portion of the CD-ROM Three Works, published by the California Museum of Photography (U. of California, Riverside)

1996 Reframings: New American Feminist Photographies, Temple University Press, Philadelphia, PA; Parada's section is a four-page photo-text piece titled “Type/cast or (Not the typical) portrait of a revolutionary.”

1993 Art and Social Consciousness, Leonardo, vol. 26, #5, article “Taking Liberties: Digital Revision as Cultural Dialogue." See complete article here.

1991 two photo-text works, published by Feminist Studies, Autumn 1991

1991 “Oppositions” a photo-text work generated as part of a portfolio, Artists Respond to the War, in VIEWS: the Journal of Photography in New England, published by the Photographic Resource Center at Boston University, vol. 12, #3

1991 PhotoVideo: Photography in the age of the computer published in conjunction with the exhibition of the same name at Impressions Gallery, York, by England Rivers Oram Press, London

1990 Democracy: A Project by Group Material, Dia Art Foundation, Discussions in Contemporary Culture, No. 5, Bay Press, Seattle

1990 Define/Defy the Frame; offset lithography artist’s book/poster published by University Art Gallery, SUNY Binghamton, Binghamton, N.Y.

1989 Color, editor and participant in limited edition book published with Canon Color Laser Copier, University of Illinois at Chicago

1989 “C/Overt Ideology,” photo-text article in The Contest of Meaning, published by MIT Press, Cambridge, Mass

1989 “Option/Shift," a Macintosh computer-generated artist’s book/collaboration between Esther Parada and critic Deborah Bright, published by the Platen Press, University of Colorado, Boulder. See complete publication here.

1988 The Monroe Doctrine: Theme and Variations, Part I, portfolio of 42 [8” x 10”] documents reproduced by offset lithography, with laserprint on vellum coversheet, published by the Platen Press, University of Colorado, Boulder

1987 “Rio de Luz” (interviews with editor and contributors to photography book series published by Fondo de Cultura Economica, Mexico) in Aperture: Latin American Photography, # 109, Winter 1987

1987 “Women’s Vision Extends the Map of Memory,” Michigan Quarterly Review, January

1986 Who Was Smedley Butler?, poster 18” x 24”, printed in an edition of 1000, offset lithography

1985 “Mixed Messages,” a review of Gilles Peress’s Telex: Iran; published in Exposure, Fall 1985, Vol. 23, No. 3

1985 Who Are You Listening To? a 16-page booklet published in conjunction with installation U.S. Democracy Over Central America

1985 “Latino America: Una Mitologia de los Medios Masivos,” published in Spanish in Casa de Las Americas magazine No. 149, March/April

1984 “A Civics Lesson,” 4-page photo-text piece, San Francisco Camerawork Quarterly, June

1984 “C/Overt Ideology: Two Images of Revolution,” Afterimage, Vol. 11, # 8, March

1982 “Home Products: History, Photography, and Cultural Politics in Cuba,” Afterimage, Vol. 10, # 5, December

1981 “Notes on Latin American Photography,” Afterimage, Vol. 9, # 4, November

—Adapted from Esther Parada's resume, dated 9/20/04.

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