INTERVIEW Joseph Rodriguez

ISSUE #1

Joseph Rodriguez in his own words

by Steen Sundland & Katrine Rantzau

Since he started taking pictures in earnest in the 1980s, Joseph Rodriguez has been one of the most important photojournalists in the U.S. His landmark books “Spanish Harlem”, “East Side Stories” and “Juvenile” have helped redefine the outlook on Latino culture, keeping a focus on  marginalization and American violence – gang-related as well as structural and systemic – but always with an intimate angle that stays sympathetic with his subjects. Known for his long-term commitment to his projects, Rodriguez has been able to achieve a level of intimacy that’s rarely seen in photojournalism. This approach carries through to his international projects from Iraq during the first Gulf war and Romania post-Ceausescu. I was lucky enough to be able to interview him about his background, inspirations and work.

“As a child I was always interested in the

Bucaharest, Romania 1990

cinema, the cinema was the big picture show. Back then I didn’t understand the art of photography, it was an escape from the dark living of my home – of my mom and my stepfather and him being a heroin addict. Leaving the house was a way to be free, and to be free, well, a lot of us go to the cinema to forget the problems and we go into the screen.

That cinematic screen became something that I would think of as a foundation for me, not knowing where this was gonna go. I loved the image and the story. As I grew older, I was looking for adventure. Becoming a teenager became problematic for me, the situation in the house became very tense, my brother was born and I went into the streets.

It was also a time of rock n’ roll, the hippie movement, the Vietnam War protests. I started to associate with socialists. Issues were being talked about through music, you know, Bob Dylan, Marvin Gaye. That was our generation: to question, not to trust. Then I got caught up in the drug scene and went to prison at Rikers Island. When I got out of Rikers Island I knew I needed to fix a couple of things. As an addict, I needed to control the addiction. I tried different programs and in the end went on methadone. While I was on methadone I got my high school diploma back and studied really hard to get into university. I was very young at that time, only about 20 years old. I got a job working at a factory, and one day, on my way home from work at the factory I was walking through Fort Greene to Clinton Hill. At that time, it was a predominantly African- American community, no hipsters. That day, I ran across a small museum, the Brooklyn Children’s Museum. There was a black and white photography class that was being taught by an African-American photojournalist called Beuford Smith. He became this guy who opened up the world of photography to me.

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  • Poster_Joseph_Rodriguez_Liquor

    Joseph Rodriguez LAPD 1994 Poster #3

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  • Elisabet Davidsdottir “Untitled (Surface 20), 2017”

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  • Christian Witkin “Leg of Elephant, Calcutta, India, 1994”

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    Karabo Mooki “Passop”

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    Limited Edition Archival Pigment Print including a Certificate of Authenticity Signed and Numbered by the Artist.
    Paper Size 40 x 50 cm/15,7 x 19,7″ Edition of 75
    Printed on Hahnemühle Photo Rag®, 315 gsm museum quality FineArt inkjet paper.

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  • Poster LAPD 1994 Joseph Rodriguez

    Joseph Rodriguez LAPD 1994 Poster #2

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    Poster size 18 x 24”/ 45,7 x 60,9cm

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    Steen Sundland, World Trade Center, New York, 1998

    Limited edition archival pigment on paper, signed on the verso. Printed on Hahnemühle fineart pearl 285 gsm, museum quality. Paper Size 420 × 594 mm – image 373 x 460 mm Paper Size 300 × 400 mm – image 250 x 300 mm. Edition of 20+4 AP

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  • Steen Sundland, Copan #3, San Paolo, 2005

    Limited edition archival pigment on paper, signed on the verso. Printed on Hahnemühle fineart pearl 285 gsm, museum quality. Paper Size 420 × 594 mm – image 373 x 460 mm Paper Size 300 × 400 mm – image 250 x 300 mm. Edition of 20+4 AP

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    Joseph Rodriguez LAPD 1994 Poster #5

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  • Enrique Badulescu “Collage #2”

    Limited Edition Archival Pigment Print including a Certificate of Authenticity Signed and Numbered by the Artist.
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  • Robin Broadbent “Cell #5”

    Limited Edition Archival Pigment Print Mounted on Dibond including a Certificate of Authenticity Signed and Numbered by the Artist.
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  • Christian Witkin “Wrestler With Dumbells, Calcutta, India, 1996”

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  • Christian Witkin “Snake Wallah, Agra, India, 1996”

    Limited Edition Archival Pigment Print including a Certificate of Authenticity Signed and Numbered by the Artist.
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    Printed on Hahnemühle Photo Rag®, 315 gsm museum quality FineArt inkjet paper.

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  • Christian Witkin “Shiva Impersonator, Calcutta, India, 1996”

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  • Cate Dingley & The Artist Edition's "EZY RYDERS"

    “Ezy Ryders”

    Cate Dingley’s first monograph Ezy Ryders: ⁠
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    Adventure and brotherhood: this is what the biker searches for. They’re thrill-seekers and occasional hell-raisers, obsessed with freedom: freedom from the ordinary, from tedium, from rules, from society. White clubs excluded black bikers, so fuck it—they started their own. Like every family, there are dramas and even violence. The older bikers lament the loss of tradition as new clubs explode on the scene all the time. But there’s also a code of honor, and a profound loyalty to one’s brothers and sisters in the club. Clubhouses collect coats for homeless shelters and fill their saddle bags with diapers and baby wipes to deliver to needy mothers. They know what their neighborhood needs more than anyone and mentor young people to keep them out of trouble.

    Ezy Ryders is the unexpected story of the New York City black biker. It’s been ongoing since 2014, when Cate first met a Trinidadian club in Brooklyn and they took her to a barbecue where there were hundreds of other riders. The project ballooned from there—after a period in which Cate was “prospecting” the scene herself. She conducted interviews with ten bikers from a variety of backgrounds, and am currently making a book with their oral testimony and five years of photographs.

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  • Enrique Badulescu “Collage #5”

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    Cate Dingley, Prayers for the riders who’ve died, The Bronx, 2016

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  • Elisabet Davidsdottir “Untitled (Surface 17), 2017”

    Limited Edition Archival Pigment Print including a Certificate of Authenticity Signed and Numbered by the Artist.
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  • Rob Hann “Groom, Texas”

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    Cate Dingley, Bikini bike wash, Brooklyn, 2017

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    Limited Edition Archival Pigment Print Mounted on Dibond including a Certificate of Authenticity Signed and Numbered by the Artist.
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  • Joseph Rodriguez, Juvenile Poster

    Gregorio, Pee Wee and Carlos, Mission District, San Francisco, California 1999

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    Paper Size 40 x 50 cm/15,7 x 19,7″ Edition of 75
    Printed on Hahnemühle Photo Rag® , 315 gsm museum quality FineArt inkjet paper.

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    Joseph Rodriguez LAPD 1994 Poster #1

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    Limited Edition Archival Pigment Print including a Certificate of Authenticity Signed and Numbered by the Artist.
    Paper Size 35 x 50 cm/13,8 x 19,7″ Edition of 75
    Printed on Hahnemuhle Matte Fine Art Museum Etching 350 gsm.

    Starting at $495 Collect This product has multiple variants. The options may be chosen on the product page
  • Steen Sundland, Isabella Rossellini #1, NYC, 1994

    Limited edition archival pigment on paper, signed on the verso. Printed on Hahnemühle fineart pearl 285 gsm, museum quality. Paper Size 420 × 594 mm – image 373 x 460 mm Paper Size 300 × 400 mm – image 250 x 300 mm. Edition of 20+4 AP

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    Rob Hann “Ice Cream Truck Bonneville Salt Flats, Utah”

    Open Edition Archival Pigment Print.
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  • Steen Sundland, Gotham City, NYC, 1999

    Limited edition archival pigment on paper, signed on the verso. Printed on Hahnemühle fineart pearl 285 gsm, museum quality. Paper Size 420 × 594 mm – image 373 x 460 mm Paper Size 300 × 400 mm – image 250 x 300 mm. Edition of 20+4 AP

    Starting at $1,550 Collect This product has multiple variants. The options may be chosen on the product page
  • Steen Sundland, Crash #1, NYC, 2006

    Limited edition archival pigment on paper, signed on the verso. Printed on Hahnemühle fineart pearl 285 gsm, museum quality. Paper Size 420 × 594 mm – image 373 x 460 mm Paper Size 300 × 400 mm – image 250 x 300 mm. Edition of 20+4 AP

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  • ThomasSchenk_KarenElson

    Thomas Schenk ‘Karen #2’ Exhibition

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    Printed on Hahnemühle Photo Rag® , 315 gsm museum quality FineArt inkjet paper.

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