INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3515,2,'2015-04-22 16:22:47','2015-04-22 20:22:47','<img class=\"aligncenter size-large wp-image-3506\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Art-Pages-Collage-2-1024x519.jpg\" alt=\"Art Pages Collage 2\" width=\"1024\" height=\"519\" />\n\n<h1 style=\"text-align: center;\">April 17 to May 9, 2015</h1>\n\n<strong><em>\"An older man was pushing a grocery store cart and selling his paintings.  He was selling his Christ portraits and (of the) last supper...  I was in awe of them all, they were original, not prints. My Tia asked the man how much he wanted for them. I think she paid him 4 or 5 dollars and let me pick one. When I held it in my hands I felt like it was the most sacred treasure I owned. It left a big impression on me since from then on I realized the power art had over me as a collector and as one that could possible do the same. The moral of this memory is not the price of the work, or that my aunt got a bargain. Since you and I know how hard it is for artists to make a living when we choose this career but the power of art to the young. That’s how it began for me.\"</em></strong>  -  A story on the power of art to inspire and excite the mind as told to us by the artist Marta Sanchez\n\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, in an exhibition entitled <em>Art Pages, All Art is Welcomed</em>, Taller’s gallery will host an art show of work submitted by our talented community.  The only guidelines for the show are that the artwork is the artist’s own and can fit in a painted 11 inch square box on the wall.  Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\n\nArt work for sale by:\n\n<em>Antonio Matorrell, Marta Sanchez, Henry Bermudez, Theodore A. Harris, Erin Bernard, Nanette Acker Clark, John Macdaniel, Amy Newman, Juan Bustamante, Michelle Marcuse, Maria Dominguez, Ariel Vázquez, Daniel de Jesús, Robert Levin, George Zoloto, Matthew Jacobs, Cynthia Jiménez, Elba Jiménez, José Luis Cortés, Jaime Alvarez, ...</em>\n\n&nbsp;','ART PAGES, All Art is Welcomed','','inherit','closed','closed','','3502-revision-v1','','','2015-04-22 16:22:47','2015-04-22 20:22:47','<img class=\"aligncenter size-large wp-image-3506\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Art-Pages-Collage-2-1024x519.jpg\" alt=\"Art Pages Collage 2\" width=\"1024\" height=\"519\" />\r\n<h1 style=\"text-align: center;\">April 17 to May 9, 2015</h1>\r\n<strong><em>\"An older man was pushing a grocery store cart and selling his paintings.  He was selling his Christ portraits and (of the) last supper...  I was in awe of them all, they were original, not prints. My Tia asked the man how much he wanted for them. I think she paid him 4 or 5 dollars and let me pick one. When I held it in my hands I felt like it was the most sacred treasure I owned. It left a big impression on me since from then on I realized the power art had over me as a collector and as one that could possible do the same. The moral of this memory is not the price of the work, or that my aunt got a bargain. Since you and I know how hard it is for artists to make a living when we choose this career but the power of art to the young. That’s how it began for me.\"</em></strong>  -  A story on the power of art to inspire and excite the mind as told to us by the artist Marta Sanchez\r\n\r\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, in an exhibition entitled <em>Art Pages, All Art is Welcomed</em>, Taller’s gallery will host an art show of work submitted by our talented community.  The only guidelines for the show are that the artwork is the artist’s own and can fit in a painted 11 inch square box on the wall.  Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\r\n\r\nArt work for sale by:\r\n\r\n<em>Antonio Matorrell, Marta Sanchez, Henry Bermudez, Theodore A. Harris, Erin Bernard, Nanette Acker Clark, John Macdaniel, Amy Newman, Juan Bustamante, Michelle Marcuse, Maria Dominguez, Ariel Vázquez, Daniel de Jesús, Robert Levin, George Zoloto, Matthew Jacobs, Cynthia Jiménez, Elba Jiménez, José Luis Cortés, Jaime Alvarez, ...</em>\r\n\r\n&nbsp;',3502,'http://tallerpr.org/2015/04/22/3502-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3516,2,'2015-04-22 16:23:24','2015-04-22 20:23:24','<h2 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3506\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Art-Pages-Collage-2-1024x519.jpg\" alt=\"Art Pages Collage 2\" width=\"1024\" height=\"519\" />April 17 to May 9, 2015</h2>\n\n<strong><em>\"An older man was pushing a grocery store cart and selling his paintings.  He was selling his Christ portraits and (of the) last supper...  I was in awe of them all, they were original, not prints. My Tia asked the man how much he wanted for them. I think she paid him 4 or 5 dollars and let me pick one. When I held it in my hands I felt like it was the most sacred treasure I owned. It left a big impression on me since from then on I realized the power art had over me as a collector and as one that could possible do the same. The moral of this memory is not the price of the work, or that my aunt got a bargain. Since you and I know how hard it is for artists to make a living when we choose this career but the power of art to the young. That’s how it began for me.\"</em></strong>  -  A story on the power of art to inspire and excite the mind as told to us by the artist Marta Sanchez\n\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, in an exhibition entitled <em>Art Pages, All Art is Welcomed</em>, Taller’s gallery will host an art show of work submitted by our talented community.  The only guidelines for the show are that the artwork is the artist’s own and can fit in a painted 11 inch square box on the wall.  Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\n\nArt work for sale by:\n\n<em>Antonio Matorrell, Marta Sanchez, Henry Bermudez, Theodore A. Harris, Erin Bernard, Nanette Acker Clark, John Macdaniel, Amy Newman, Juan Bustamante, Michelle Marcuse, Maria Dominguez, Ariel Vázquez, Daniel de Jesús, Robert Levin, George Zoloto, Matthew Jacobs, Cynthia Jiménez, Elba Jiménez, José Luis Cortés, Jaime Alvarez, ...</em>\n\n&nbsp;','ART PAGES, All Art is Welcomed','','inherit','closed','closed','','3502-revision-v1','','','2015-04-22 16:23:24','2015-04-22 20:23:24','<h2 style=\"text-align: center;\"><img class=\"aligncenter size-large wp-image-3506\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Art-Pages-Collage-2-1024x519.jpg\" alt=\"Art Pages Collage 2\" width=\"1024\" height=\"519\" />April 17 to May 9, 2015</h2>\r\n<strong><em>\"An older man was pushing a grocery store cart and selling his paintings.  He was selling his Christ portraits and (of the) last supper...  I was in awe of them all, they were original, not prints. My Tia asked the man how much he wanted for them. I think she paid him 4 or 5 dollars and let me pick one. When I held it in my hands I felt like it was the most sacred treasure I owned. It left a big impression on me since from then on I realized the power art had over me as a collector and as one that could possible do the same. The moral of this memory is not the price of the work, or that my aunt got a bargain. Since you and I know how hard it is for artists to make a living when we choose this career but the power of art to the young. That’s how it began for me.\"</em></strong>  -  A story on the power of art to inspire and excite the mind as told to us by the artist Marta Sanchez\r\n\r\nFor its 40-year anniversary, Taller Puertorriqueño is trying something radical. Eschewing the selection and curatorial process, Taller is opening the Lorenzo Homar Gallery for very special exhibition. Building on the premise that creativity is not exclusive, and that art is for everyone, from April 17 to May 9, 2015, in an exhibition entitled <em>Art Pages, All Art is Welcomed</em>, Taller’s gallery will host an art show of work submitted by our talented community.  The only guidelines for the show are that the artwork is the artist’s own and can fit in a painted 11 inch square box on the wall.  Proceeds from the show will help support Taller.  In this exhibition art is truly the focus and the public is the star.\r\n\r\nArt work for sale by:\r\n\r\n<em>Antonio Matorrell, Marta Sanchez, Henry Bermudez, Theodore A. Harris, Erin Bernard, Nanette Acker Clark, John Macdaniel, Amy Newman, Juan Bustamante, Michelle Marcuse, Maria Dominguez, Ariel Vázquez, Daniel de Jesús, Robert Levin, George Zoloto, Matthew Jacobs, Cynthia Jiménez, Elba Jiménez, José Luis Cortés, Jaime Alvarez, ...</em>\r\n\r\n&nbsp;',3502,'http://tallerpr.org/2015/04/22/3502-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3517,2,'2015-04-23 09:02:38','2015-04-23 13:02:38','','Gay & Latino','','inherit','closed','closed','','gay-latino','','','2015-05-29 13:35:04','2015-05-29 17:35:04','',3685,'http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino.png',0,'attachment','image/png',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3518,2,'2015-04-23 10:04:30','2015-04-23 14:04:30','As part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\" target=\"_blank\">En Blanco y Negro: Gay &amp; Boricua</a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org\" target=\"_blank\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community.\r\n\r\nThe panel will look at, from different perspectives, their past, current and future directions. The topics addressed will include the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\r\n\r\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com\" target=\"_blank\">The Gran Varones Project</a>.   David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com\" target=\"_blank\">Casa de Duende</a>, will be the moderator.\r\n\r\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia<i>.</i> For more information on the celebration go to <a href=\"http://waygay.org/reminder2015.\" target=\"_blank\">http://waygay.org/reminder2015.</a>\r\n\r\nLearn more about the panelist <a href=\"http://tallerpr.org/2015/05/29/gay-latino-panel/\">here</a>.\r\n\r\nFunding provided by:\r\n<img class=\"alignleft size-medium wp-image-1179\" src=\"http://tallerpr.org/wp-content/uploads/2014/01/Screen-Shot-2014-01-21-at-11.32.49-AM-300x30.jpg\" alt=\"The Andy Warhol Foundation for the Visual Arts Logo\" width=\"300\" height=\"30\" /><img class=\" size-medium wp-image-1184 alignright\" src=\"http://tallerpr.org/wp-content/uploads/2014/01/peco_logo-300x120.jpg\" alt=\"Peco Logo\" width=\"300\" height=\"120\" />','Gay &  Latino: Panel Discussion','','publish','closed','closed','','gay-latino-panel-discussion','','','2015-06-03 10:15:43','2015-06-03 14:15:43','',0,'http://tallerpr.org/?post_type=tribe_events&#038;p=3518',0,'tribe_events','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3519,641,'2015-04-23 10:38:35','2015-04-23 14:38:35','<p style=\"text-align: justify;\"><a title=\"Taller+Rental+Space-Cover\" href=\"http://tallerpr.org/wp-content/uploads/2013/11/Taller+Rental+Space+Flyer+.pdf\" target=\"_blank\"><img class=\"alignleft\" style=\"float: left;\" title=\"Taller+Rental+Space-Cover\" src=\"http://farm8.staticflickr.com/7388/11111309494_95f6fba928_m.jpg\" alt=\"Space Rentals Flyer for Download\" width=\"186\" height=\"240\" /></a>Taller event spaces are perfect for your hosting needs. The Roberto Hernandez Theater in Taller\'s Education building on 5th &amp; Huntingdon, and other events spaces are available for rent as well. We have spaces that can accommodate parties, professional, and cultural events and theatrical productions.</p>\n\nBase rate is $50/per hour.\n\nDownload the flyer <a title=\"Event Space Flyer\" href=\"http://tallerpr.org/wp-content/uploads/2013/11/Taller+Rental+Space+Flyer+.pdf\" target=\"_blank\">here</a>.\n\n<strong>Spaces available for</strong>\n\n• Theater productions\n• Rehearsals\n• Dance Practice\n• Meetings\n• Conferences\n• Parties\n\n&nbsp;\n\n<strong>The Roberto Hernandez Theater amenities</strong>\n\n•Theater lights\n\n•Professional audio equipment\n\n•Projector &amp; screen\n\n•Tables and chairs\n\n•WiFi\n\nand much more.\n\n&nbsp;\n\n<strong>Accessibility</strong>\n\n• The building is a stop for Septa\'s bus 47, get directions <a href=\"http://goo.gl/w9Z2Og\" target=\"_blank\">here</a>.\n\n• Free Parking; directly across is a free municipal parking lot.\n\n&nbsp;\n\n<strong>For more information, contact our Facility Manager: Carlos Pardo</strong> (215) 423-6320 or email him at <a href=\"mailto:cpardo@tallerpr.org\">cpardo@tallerpr.org</a>\n\n[gallery ids=\"1750,1752,1753,1755\"]\n\n&nbsp;','Facilities and Event Space Rentals','','inherit','closed','closed','','1524-revision-v1','','','2015-04-23 10:38:35','2015-04-23 14:38:35','<p style=\"text-align: justify;\"><a title=\"Taller+Rental+Space-Cover\" href=\"http://tallerpr.org/wp-content/uploads/2013/11/Taller+Rental+Space+Flyer+.pdf\" target=\"_blank\"><img class=\"alignleft\" style=\"float: left;\" title=\"Taller+Rental+Space-Cover\" src=\"http://farm8.staticflickr.com/7388/11111309494_95f6fba928_m.jpg\" alt=\"Space Rentals Flyer for Download\" width=\"186\" height=\"240\" /></a>Taller event spaces are perfect for your hosting needs. The Roberto Hernandez Theater in Taller\'s Education building on 5th &amp; Huntingdon, and other events spaces are available for rent as well. We have spaces that can accommodate parties, professional, and cultural events and theatrical productions.</p>\r\nBase rate is $50/per hour.\r\n\r\nDownload the flyer <a title=\"Event Space Flyer\" href=\"http://tallerpr.org/wp-content/uploads/2013/11/Taller+Rental+Space+Flyer+.pdf\" target=\"_blank\">here</a>.\r\n\r\n<strong>Spaces available for</strong>\r\n\r\n• Theater productions\r\n• Rehearsals\r\n• Dance Practice\r\n• Meetings\r\n• Conferences\r\n• Parties\r\n\r\n&nbsp;\r\n\r\n<strong>The Roberto Hernandez Theater amenities</strong>\r\n\r\n•Theater lights\r\n\r\n•Professional audio equipment\r\n\r\n•Projector &amp; screen\r\n\r\n•Tables and chairs\r\n\r\n•WiFi\r\n\r\nand much more.\r\n\r\n&nbsp;\r\n\r\n<strong>Accessibility</strong>\r\n\r\n• The building is a stop for Septa\'s bus 47, get directions <a href=\"http://goo.gl/w9Z2Og\" target=\"_blank\">here</a>.\r\n\r\n• Free Parking; directly across is a free municipal parking lot.\r\n\r\n&nbsp;\r\n\r\n<strong>For more information, contact our Facility Manager: Carlos Pardo</strong> (215) 423-6320 or email him at <a href=\"mailto:cpardo@tallerpr.org\">cpardo@tallerpr.org</a>\r\n\r\n[gallery ids=\"1750,1752,1753,1755\"]\r\n\r\n&nbsp;',1524,'http://tallerpr.org/2015/04/23/1524-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3521,641,'2015-04-23 14:50:45','2015-04-23 18:50:45','','PNC logo','','inherit','closed','closed','','screen-shot-2015-04-10-at-5-17-33-pm','','','2015-04-23 14:52:04','2015-04-23 18:52:04','',3437,'http://tallerpr.org/wp-content/uploads/2015/04/Screen-Shot-2015-04-10-at-5.17.33-PM.png',0,'attachment','image/png',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3522,641,'2015-04-23 14:50:47','2015-04-23 18:50:47','','Susquehanna logo','','inherit','closed','closed','','screen-shot-2015-04-10-at-4-13-50-pm','','','2015-04-23 14:52:08','2015-04-23 18:52:08','',3437,'http://tallerpr.org/wp-content/uploads/2015/04/Screen-Shot-2015-04-10-at-4.13.50-PM.png',0,'attachment','image/png',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3523,0,'2015-04-24 11:44:28','2015-04-24 15:44:28','','Michelle Sanchez','','publish','closed','closed','','michelle-sanchez','','','2015-04-24 11:46:42','2015-04-24 15:46:42','',0,'http://tallerpr.org/?post_type=edd_payment&#038;p=3523',0,'edd_payment','',2);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3524,0,'2015-04-24 11:44:28','2015-04-24 11:44:28','','','','publish','closed','closed','','3524','','','2015-04-24 11:44:28','2015-04-24 11:44:28','',2908,'http://tallerpr.org/?post_type=edd_log&p=3524',0,'edd_log','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3525,0,'2015-04-24 11:46:42','2015-04-24 15:46:42','','3523 | Southwest Airline Voucher | 1','','publish','closed','closed','','3523-southwest-airline-voucher-1','','','2015-04-24 11:46:42','2015-04-24 15:46:42','',0,'http://tallerpr.org/?post_type=tribe_eddticket&p=3525',0,'tribe_eddticket','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3526,2,'2015-06-03 10:14:00','2015-06-03 14:14:00','As part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\" target=\"_blank\">En Blanco y Negro: Gay &amp; Boricua</a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org\" target=\"_blank\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community.\n\nThe panel will look at, from different perspectives, their past, current and future directions. The topics addressed will include the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\n\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com\" target=\"_blank\">The Gran Varones Project</a>.   David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com\" target=\"_blank\">Casa de Duende</a>, will be the moderator.\n\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia<i>.</i> For more information on the celebration go to <a href=\"http://waygay.org/reminder2015.\" target=\"_blank\">http://waygay.org/reminder2015.</a>\n\nLearn more about the panelist <a href=\"http://tallerpr.org/2015/05/29/gay-latino-panel/\">here</a>.\n\nFunding provided by:\n\n<img class=\"alignleft size-medium wp-image-1179\" src=\"http://tallerpr.org/wp-content/uploads/2014/01/Screen-Shot-2014-01-21-at-11.32.49-AM-300x30.jpg\" alt=\"The Andy Warhol Foundation for the Visual Arts Logo\" width=\"300\" height=\"30\" />\n\n<img class=\"alignleft size-medium wp-image-1184\" src=\"http://tallerpr.org/wp-content/uploads/2014/01/peco_logo-300x120.jpg\" alt=\"Peco Logo\" width=\"300\" height=\"120\" />','Gay &  Latino: Panel Discussion','','inherit','closed','closed','','3518-autosave-v1','','','2015-06-03 10:14:00','2015-06-03 14:14:00','',3518,'http://tallerpr.org/2015/04/25/3518-autosave-v1/',0,'revision','',0);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3628,0,'2015-05-18 13:58:17','2015-05-18 17:58:17','','3620 | Southwest Airline Voucher | 4','','publish','closed','closed','','3620-southwest-airline-voucher-4','','','2015-05-18 13:58:17','2015-05-18 17:58:17','',0,'http://tallerpr.org/?post_type=tribe_eddticket&p=3628',0,'tribe_eddticket','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3630,641,'2015-05-19 10:08:34','2015-05-19 14:08:34','','2013-14 IRS Form 990','','inherit','closed','closed','','taller-pr-990-2013-14','','','2015-05-19 10:12:09','2015-05-19 14:12:09','',602,'http://tallerpr.org/wp-content/uploads/2013/12/Taller-PR-990-2013-14.pdf',0,'attachment','application/pdf',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3631,641,'2015-05-19 10:08:47','2015-05-19 14:08:47','','2013-14 Audited Financial Statements','','inherit','closed','closed','','tallerpr-audit-fy-2013-14-final','','','2015-05-19 10:11:55','2015-05-19 14:11:55','',602,'http://tallerpr.org/wp-content/uploads/2013/12/TallerPR-Audit-FY-2013-14-Final.pdf',0,'attachment','application/pdf',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3632,641,'2015-05-19 11:38:54','2015-05-19 15:38:54','http://vimeo.com/112935456#t=1s\n\nTaller Puertorriqueño’s enduring success has been reflected in the <em>unwavering commitment</em> of those who believe that arts and cultural institutions benefit the entire community. We thank you in advance for your generosity.\n\nTo donate materials, volunteer, or for more information on membership, donations or Taller\'s mission, please call Dora Viacava at 215.426.3311, or send her an email at dviacava@tallerpr.org.\n\n<a href=\"http://www.guidestar.org/organizations/23-1946165/taller-puertorriqueno.aspx\" target=\"_blank\">\n    <img src=\"http://widgets.guidestar.org/gximage2?o=7105590&l=v4\" />\n</a><strong>Taller Puertorriqueño is committed to transparency.</strong> <strong>View our most recent financial statements: </strong>\n<strong><a href=\"http://tallerpr.org/wp-content/uploads/2013/12/Taller-PR-990-2013-14.pdf\">2013-14 IRS Form 990</a> </strong>\n<strong><a href=\"http://tallerpr.org/wp-content/uploads/2013/12/TallerPR-Audit-FY-2013-14-Final.pdf\">2013-14 Audited Financial Statements</a></strong>\n\n<table style=\"height: 73px;\" border=\"0\" width=\"1394\" cellspacing=\"0\" cellpadding=\"0\" bgcolor=\"#FFEC99\">\n<tbody>\n<tr>\n<td colspan=\"1\" rowspan=\"1\" align=\"left\">\n<h5><strong style=\"color: #ff0000; font-family: inherit; font-size: 18px; line-height: 18px;\">Complete the form below to make a one-time or recurring donation to Taller.  </strong></h5>\n</td>\n</tr>\n</tbody>\n</table>\n\n&nbsp;\n\n<strong><em>*Some employers make matching one-to-one donations. Ask your employer if they have a gift-matching program, and double your impact!</em></strong><em>\n</em>\n\n<h6>The official registration and financial information of Taller Puertorriqueño, Inc. may be obtained from the Pennsylvania Department of State by calling toll free, within Pennsylvania, 1 (800) 732-0999. Registration does not imply endorsement.</h6>\n\n[dgx-donate]','Donation','','inherit','closed','closed','','602-revision-v1','','','2015-05-19 11:38:54','2015-05-19 15:38:54','http://vimeo.com/112935456#t=1s\r\n\r\nTaller Puertorriqueño’s enduring success has been reflected in the <em>unwavering commitment</em> of those who believe that arts and cultural institutions benefit the entire community. We thank you in advance for your generosity.\r\n\r\nTo donate materials, volunteer, or for more information on membership, donations or Taller\'s mission, please call Dora Viacava at 215.426.3311, or send her an email at dviacava@tallerpr.org.\r\n\r\n<a href=\"http://www.guidestar.org/organizations/23-1946165/taller-puertorriqueno.aspx\" target=\"_blank\">\r\n    <img src=\"http://widgets.guidestar.org/gximage2?o=7105590&l=v4\" />\r\n</a><strong>Taller Puertorriqueño is committed to transparency.</strong> <strong>View our most recent financial statements: </strong>\r\n<strong><a href=\"http://tallerpr.org/wp-content/uploads/2013/12/Taller-PR-990-2013-14.pdf\">2013-14 IRS Form 990</a> </strong>\r\n<strong><a href=\"http://tallerpr.org/wp-content/uploads/2013/12/TallerPR-Audit-FY-2013-14-Final.pdf\">2013-14 Audited Financial Statements</a></strong>\r\n<table style=\"height: 73px;\" border=\"0\" width=\"1394\" cellspacing=\"0\" cellpadding=\"0\" bgcolor=\"#FFEC99\">\r\n<tbody>\r\n<tr>\r\n<td colspan=\"1\" rowspan=\"1\" align=\"left\">\r\n<h5><strong style=\"color: #ff0000; font-family: inherit; font-size: 18px; line-height: 18px;\">Complete the form below to make a one-time or recurring donation to Taller.  </strong></h5>\r\n</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong><em>*Some employers make matching one-to-one donations. Ask your employer if they have a gift-matching program, and double your impact!</em></strong><em>\r\n</em>\r\n<h6>The official registration and financial information of Taller Puertorriqueño, Inc. may be obtained from the Pennsylvania Department of State by calling toll free, within Pennsylvania, 1 (800) 732-0999. Registration does not imply endorsement.</h6>\r\n[dgx-donate]',602,'http://tallerpr.org/2015/05/19/602-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3633,641,'2015-05-19 13:52:06','2015-05-19 17:52:06','http://vimeo.com/112935456#t=1s\n\nTaller Puertorriqueño’s enduring success has been reflected in the <em>unwavering commitment</em> of those who believe that arts and cultural institutions benefit the entire community. We thank you in advance for your generosity.\n\nTo donate materials, volunteer, or for more information on membership, donations or Taller\'s mission, please call Dora Viacava at 215.426.3311, or send her an email at dviacava@tallerpr.org.\n\n<a href=\"http://www.guidestar.org/organizations/23-1946165/taller-puertorriqueno.aspx\" target=\"_blank\">\n<img src=\"http://widgets.guidestar.org/gximage2?o=7105590&amp;l=v4\" alt=\"\" />\n</a><strong>Taller Puertorriqueño is committed to transparency.</strong> <strong>View our most recent financial statements: </strong>\n<strong><a href=\"http://tallerpr.org/wp-content/uploads/2013/12/Taller-PR-990-2013-14.pdf\">2013-14 IRS Form 990</a> </strong>\n<strong><a href=\"http://tallerpr.org/wp-content/uploads/2013/12/TallerPR-Audit-FY-2013-14-Final.pdf\">2013-14 Audited Financial Statements</a></strong>\n\n<table style=\"height: 73px;\" border=\"0\" width=\"1394\" cellspacing=\"0\" cellpadding=\"0\" bgcolor=\"#FFEC99\">\n<tbody>\n<tr>\n<td colspan=\"1\" rowspan=\"1\" align=\"left\">\n<h5><strong style=\"color: #ff0000; font-family: inherit; font-size: 18px; line-height: 18px;\">Complete the form below to make a one-time or recurring donation to Taller.  </strong></h5>\n</td>\n</tr>\n</tbody>\n</table>\n\n&nbsp;\n\n<strong><em>*Some employers make matching one-to-one donations. Ask your employer if they have a gift-matching program, and double your impact!</em></strong><em>\n</em>\n\n<h6>The official registration and financial information of Taller Puertorriqueño, Inc. may be obtained from the Pennsylvania Department of State by calling toll free, within Pennsylvania, 1 (800) 732-0999. Registration does not imply endorsement.</h6>\n\n[dgx-donate]','Donation','','inherit','closed','closed','','602-revision-v1','','','2015-05-19 13:52:06','2015-05-19 17:52:06','http://vimeo.com/112935456#t=1s\r\n\r\nTaller Puertorriqueño’s enduring success has been reflected in the <em>unwavering commitment</em> of those who believe that arts and cultural institutions benefit the entire community. We thank you in advance for your generosity.\r\n\r\nTo donate materials, volunteer, or for more information on membership, donations or Taller\'s mission, please call Dora Viacava at 215.426.3311, or send her an email at dviacava@tallerpr.org.\r\n\r\n<a href=\"http://www.guidestar.org/organizations/23-1946165/taller-puertorriqueno.aspx\" target=\"_blank\">\r\n<img src=\"http://widgets.guidestar.org/gximage2?o=7105590&amp;l=v4\" alt=\"\" />\r\n</a><strong>Taller Puertorriqueño is committed to transparency.</strong> <strong>View our most recent financial statements: </strong>\r\n<strong><a href=\"http://tallerpr.org/wp-content/uploads/2013/12/Taller-PR-990-2013-14.pdf\">2013-14 IRS Form 990</a> </strong>\r\n<strong><a href=\"http://tallerpr.org/wp-content/uploads/2013/12/TallerPR-Audit-FY-2013-14-Final.pdf\">2013-14 Audited Financial Statements</a></strong>\r\n<table style=\"height: 73px;\" border=\"0\" width=\"1394\" cellspacing=\"0\" cellpadding=\"0\" bgcolor=\"#FFEC99\">\r\n<tbody>\r\n<tr>\r\n<td colspan=\"1\" rowspan=\"1\" align=\"left\">\r\n<h5><strong style=\"color: #ff0000; font-family: inherit; font-size: 18px; line-height: 18px;\">Complete the form below to make a one-time or recurring donation to Taller.  </strong></h5>\r\n</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong><em>*Some employers make matching one-to-one donations. Ask your employer if they have a gift-matching program, and double your impact!</em></strong><em>\r\n</em>\r\n<h6>The official registration and financial information of Taller Puertorriqueño, Inc. may be obtained from the Pennsylvania Department of State by calling toll free, within Pennsylvania, 1 (800) 732-0999. Registration does not imply endorsement.</h6>\r\n[dgx-donate]',602,'http://tallerpr.org/2015/05/19/602-revision-v1/',0,'revision','',0);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3637,0,'2015-05-23 23:39:43','2015-05-24 03:39:43','','Cynthia Pinedo Cynthia Pinedo','','abandoned','closed','closed','','cynthia-pinedo-cynthia-pinedo','','','2015-05-31 18:21:28','2015-05-31 22:21:28','',0,'http://tallerpr.org/?post_type=edd_payment&#038;p=3637',0,'edd_payment','',1);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3639,0,'2015-05-24 08:47:36','2015-05-24 12:47:36','','Cynthia Pinedo','','publish','closed','closed','','cynthia-pinedo','','','2015-05-24 09:00:47','2015-05-24 13:00:47','',0,'http://tallerpr.org/?post_type=edd_payment&#038;p=3639',0,'edd_payment','',2);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3640,0,'2015-05-24 08:49:33','2015-05-24 12:49:33','','Francisco Pinedo','','abandoned','closed','closed','','francisco-pinedo','','','2015-06-07 18:21:24','2015-06-07 22:21:24','',0,'http://tallerpr.org/?post_type=edd_payment&#038;p=3640',0,'edd_payment','',1);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3642,0,'2015-05-24 08:47:36','2015-05-24 08:47:36','','','','publish','closed','closed','','3642','','','2015-05-24 08:47:36','2015-05-24 08:47:36','',2908,'http://tallerpr.org/?post_type=edd_log&p=3642',0,'edd_log','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3643,0,'2015-05-24 08:47:36','2015-05-24 08:47:36','','','','publish','closed','closed','','3643','','','2015-05-24 08:47:36','2015-05-24 08:47:36','',2908,'http://tallerpr.org/?post_type=edd_log&p=3643',0,'edd_log','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3644,0,'2015-05-24 09:00:47','2015-05-24 13:00:47','','3639 | Southwest Airline Voucher | 1','','publish','closed','closed','','3639-southwest-airline-voucher-1','','','2015-05-24 09:00:47','2015-05-24 13:00:47','',0,'http://tallerpr.org/?post_type=tribe_eddticket&p=3644',0,'tribe_eddticket','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3645,0,'2015-05-24 09:00:47','2015-05-24 13:00:47','','3639 | Southwest Airline Voucher | 2','','publish','closed','closed','','3639-southwest-airline-voucher-2','','','2015-05-24 09:00:47','2015-05-24 13:00:47','',0,'http://tallerpr.org/?post_type=tribe_eddticket&p=3645',0,'tribe_eddticket','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3646,0,'2015-05-24 09:00:47','2015-05-24 13:00:47','','3639 | Southwest Airline Voucher | 3','','publish','closed','closed','','3639-southwest-airline-voucher-3','','','2015-05-24 09:00:47','2015-05-24 13:00:47','',0,'http://tallerpr.org/?post_type=tribe_eddticket&p=3646',0,'tribe_eddticket','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3647,1,'2015-05-26 13:50:07','2015-05-26 17:50:07','','2015-05-26 13:50:07','','publish','closed','closed','','2015-05-26-135007','','','2015-05-26 13:50:07','2015-05-26 17:50:07','',0,'http://tallerpr.org/2015/05/26/2015-05-26-135007/',0,'donation','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3651,2,'2015-05-26 15:29:45','2015-05-26 19:29:45','[caption id=\"attachment_315\" align=\"alignleft\" width=\"129\"]<img class=\"wp-image-315 size-full\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/TPPHeart-Logo129pixsAppleTouch.png\" alt=\"Taller\'s Heart Logo- Who We Are\" width=\"129\" height=\"129\" /> Taller is known as El Corazón Cultural del Barrio,<br /> The Cultural Heart of Latino Philadelphia[/caption]\n\n<span style=\"font-size: small;\"> </span>Taller Puertorriqueño (Taller) has been “Building Community through Art Since 1974”. Known as “The Cultural Heart of Latino Philadelphia,” Taller is a community-based multidisciplinary arts organization whose work bridges European, African, Caribbean and Latino societies and cultures. Taller’s programs work at the nexus of arts, culture, human rights, and social advocacy to catalyze social change towards community advancement. We offer programs for youth and adults, operate art galleries featuring Latin@ artists, the region’s only bilingual bookstore, sponsor musical and theater events, and organize a range of engaging cultural art education programs. Our education programs for at-risk inner city children and youth offer unique art and educational experiences as an effective vehicle to build creative and competent community members. Taller has thrived in a community struggling with high unemployment and dropout rates, drugs, prejudice, and violence. This stands as a testament to the role Taller plays in celebrating this community’s strength, resilience, diversity and cultural richness.\n\n<h3></h3>\n\n<h3></h3>\n\n<h4> The Director and Our Staff</h4>\n\n[caption id=\"attachment_2820\" align=\"aligncenter\" width=\"150\"]<a href=\"http://tallerpr.org/about/a-message-from-the-director/\"><img class=\"wp-image-2820 size-thumbnail\" src=\"http://tallerpr.org/wp-content/uploads/2015/01/Carmen-Febo-San-Miguel-150x150.jpg\" alt=\"Carmen Febo San Miguel\" width=\"150\" height=\"150\" /></a> Carmen Febo San Miguel, Executive Director[/caption]\n\n&nbsp;\n\n<em> *Click on a photo for staff profile information </em>\n\n[gallery columns=\"4\" ids=\"1703,2172,1705,1630,3198,1706,2173,3259,3649,1629,2858\"]\n\n<h3>Board of Directors</h3>\n\n<strong>Edgardo González, Board Chair </strong>\n\n<strong>Elena Marie Dilapi, Vice Chair</strong>\nMSW, QCSW\n\n<strong>Wilma Guzmán-Pérez\n</strong>Human Resources Management\n\n<strong>Ma</strong><strong>rí</strong><strong>a E. Mills-Torres, Board Secretary</strong>\nRetired Educator, Philadelphia School District\n\n<strong>Deborah A. Finley PhD., Chair, Arts Advisory Committee</strong>\nCEO, Interactive Communications, Inc.\n\n<strong>Ileana M. Helwig, MA., Treasurer</strong><strong>\n</strong>Chief Operating Officer\nChildren Crisis Treatment Center\n\n<strong>Rafaela Colón, Chair Individual Solicitation Committee</strong>\nSpecial Assistant to the President/CEO, ASPIRA of PA\n\n<strong>Carmen I. Paris, MPH</strong>\nHealth Care and Strategic Project Consultant\n\n<strong>Benjamín Ramos, MS</strong>\nFormer PA State Representative, Community and Economic Development\n\n<strong>Lisette Gonzalez, M ED</strong>\nExecutive Director, Political Office\nFriends of Seth Williams\n\n<strong>Ariel Arnau</strong>,\nAdjunct Faculty, Latin American Studies Program','What we do & Who we are','','inherit','closed','closed','','2171-revision-v1','','','2015-05-26 15:29:45','2015-05-26 19:29:45','[caption id=\"attachment_315\" align=\"alignleft\" width=\"129\"]<img class=\"wp-image-315 size-full\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/TPPHeart-Logo129pixsAppleTouch.png\" alt=\"Taller\'s Heart Logo- Who We Are\" width=\"129\" height=\"129\" /> Taller is known as El Corazón Cultural del Barrio,<br /> The Cultural Heart of Latino Philadelphia[/caption]\r\n\r\n<span style=\"font-size: small;\"> </span>Taller Puertorriqueño (Taller) has been “Building Community through Art Since 1974”. Known as “The Cultural Heart of Latino Philadelphia,” Taller is a community-based multidisciplinary arts organization whose work bridges European, African, Caribbean and Latino societies and cultures. Taller’s programs work at the nexus of arts, culture, human rights, and social advocacy to catalyze social change towards community advancement. We offer programs for youth and adults, operate art galleries featuring Latin@ artists, the region’s only bilingual bookstore, sponsor musical and theater events, and organize a range of engaging cultural art education programs. Our education programs for at-risk inner city children and youth offer unique art and educational experiences as an effective vehicle to build creative and competent community members. Taller has thrived in a community struggling with high unemployment and dropout rates, drugs, prejudice, and violence. This stands as a testament to the role Taller plays in celebrating this community’s strength, resilience, diversity and cultural richness.\r\n<h3></h3>\r\n<h3></h3>\r\n<h4> The Director and Our Staff</h4>\r\n[caption id=\"attachment_2820\" align=\"aligncenter\" width=\"150\"]<a href=\"http://tallerpr.org/about/a-message-from-the-director/\"><img class=\"wp-image-2820 size-thumbnail\" src=\"http://tallerpr.org/wp-content/uploads/2015/01/Carmen-Febo-San-Miguel-150x150.jpg\" alt=\"Carmen Febo San Miguel\" width=\"150\" height=\"150\" /></a> Carmen Febo San Miguel, Executive Director[/caption]\r\n\r\n&nbsp;\r\n\r\n<em> *Click on a photo for staff profile information </em>\r\n\r\n[gallery columns=\"4\" ids=\"1703,2172,1705,1630,3198,1706,2173,3259,3649,1629,2858\"]\r\n<h3>Board of Directors</h3>\r\n<strong>Edgardo González, Board Chair </strong>\r\n\r\n<strong>Elena Marie Dilapi, Vice Chair</strong>\r\nMSW, QCSW\r\n\r\n<strong>Wilma Guzmán-Pérez\r\n</strong>Human Resources Management\r\n\r\n<strong>Ma</strong><strong>rí</strong><strong>a E. Mills-Torres, Board Secretary</strong>\r\nRetired Educator, Philadelphia School District\r\n\r\n<strong>Deborah A. Finley PhD., Chair, Arts Advisory Committee</strong>\r\nCEO, Interactive Communications, Inc.\r\n\r\n<strong>Ileana M. Helwig, MA., Treasurer</strong><strong>\r\n</strong>Chief Operating Officer\r\nChildren Crisis Treatment Center\r\n\r\n<strong>Rafaela Colón, Chair Individual Solicitation Committee</strong>\r\nSpecial Assistant to the President/CEO, ASPIRA of PA\r\n\r\n<strong>Carmen I. Paris, MPH</strong>\r\nHealth Care and Strategic Project Consultant\r\n\r\n<strong>Benjamín Ramos, MS</strong>\r\nFormer PA State Representative, Community and Economic Development\r\n\r\n<strong>Lisette Gonzalez, M ED</strong>\r\nExecutive Director, Political Office\r\nFriends of Seth Williams\r\n\r\n<strong>Ariel Arnau</strong>,\r\nAdjunct Faculty, Latin American Studies Program',2171,'http://tallerpr.org/2015/05/26/2171-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3652,2,'2015-05-26 15:35:40','2015-05-26 19:35:40','Dora Viacava, who has more than 25 years of experience working at Taller in different positions.  Her current position is outreach director.  Ms. Viacava increases Taller\'s visibility and outreach and more importantly contractual education opportunities to schools and other community organizations. Dora leads membership recruiting efforts and oversees Taller’s data base software and audience data bank with detailed information on more than 1000 individuals of which nearly 400 are active contributing members. She works with other community organizations including the Alzheimer’s Association and the Philadelphia School District to expand Taller’s programs.','Dora Viacava','Dora Viacava, Director Outreach, dviacava@tallerpr.org','inherit','closed','closed','','doria-viacava-at-work','','','2017-02-28 08:53:41','2017-02-28 13:53:41','',0,'http://tallerpr.org/wp-content/uploads/2015/05/Doria-Viacava-at-work.jpg',0,'attachment','image/jpeg',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3653,2,'2015-05-26 15:37:34','2015-05-26 19:37:34','[caption id=\"attachment_315\" align=\"alignleft\" width=\"129\"]<img class=\"wp-image-315 size-full\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/TPPHeart-Logo129pixsAppleTouch.png\" alt=\"Taller\'s Heart Logo- Who We Are\" width=\"129\" height=\"129\" /> Taller is known as El Corazón Cultural del Barrio,<br /> The Cultural Heart of Latino Philadelphia[/caption]\n\n<span style=\"font-size: small;\"> </span>Taller Puertorriqueño (Taller) has been “Building Community through Art Since 1974”. Known as “The Cultural Heart of Latino Philadelphia,” Taller is a community-based multidisciplinary arts organization whose work bridges European, African, Caribbean and Latino societies and cultures. Taller’s programs work at the nexus of arts, culture, human rights, and social advocacy to catalyze social change towards community advancement. We offer programs for youth and adults, operate art galleries featuring Latin@ artists, the region’s only bilingual bookstore, sponsor musical and theater events, and organize a range of engaging cultural art education programs. Our education programs for at-risk inner city children and youth offer unique art and educational experiences as an effective vehicle to build creative and competent community members. Taller has thrived in a community struggling with high unemployment and dropout rates, drugs, prejudice, and violence. This stands as a testament to the role Taller plays in celebrating this community’s strength, resilience, diversity and cultural richness.\n\n<h3></h3>\n\n<h3></h3>\n\n<h4> The Director and Our Staff</h4>\n\n[caption id=\"attachment_2820\" align=\"aligncenter\" width=\"150\"]<a href=\"http://tallerpr.org/about/a-message-from-the-director/\"><img class=\"wp-image-2820 size-thumbnail\" src=\"http://tallerpr.org/wp-content/uploads/2015/01/Carmen-Febo-San-Miguel-150x150.jpg\" alt=\"Carmen Febo San Miguel\" width=\"150\" height=\"150\" /></a> Carmen Febo San Miguel, Executive Director[/caption]\n\n&nbsp;\n\n<em> *Click on a photo for staff profile information </em>\n\n[gallery columns=\"4\" ids=\"1703,2172,1705,1630,3198,1706,2173,3259,3649,1629,3652\"]\n\n<h3>Board of Directors</h3>\n\n<strong>Edgardo González, Board Chair </strong>\n\n<strong>Elena Marie Dilapi, Vice Chair</strong>\nMSW, QCSW\n\n<strong>Wilma Guzmán-Pérez\n</strong>Human Resources Management\n\n<strong>Ma</strong><strong>rí</strong><strong>a E. Mills-Torres, Board Secretary</strong>\nRetired Educator, Philadelphia School District\n\n<strong>Deborah A. Finley PhD., Chair, Arts Advisory Committee</strong>\nCEO, Interactive Communications, Inc.\n\n<strong>Ileana M. Helwig, MA., Treasurer</strong><strong>\n</strong>Chief Operating Officer\nChildren Crisis Treatment Center\n\n<strong>Rafaela Colón, Chair Individual Solicitation Committee</strong>\nSpecial Assistant to the President/CEO, ASPIRA of PA\n\n<strong>Carmen I. Paris, MPH</strong>\nHealth Care and Strategic Project Consultant\n\n<strong>Benjamín Ramos, MS</strong>\nFormer PA State Representative, Community and Economic Development\n\n<strong>Lisette Gonzalez, M ED</strong>\nExecutive Director, Political Office\nFriends of Seth Williams\n\n<strong>Ariel Arnau</strong>,\nAdjunct Faculty, Latin American Studies Program','What we do & Who we are','','inherit','closed','closed','','2171-revision-v1','','','2015-05-26 15:37:34','2015-05-26 19:37:34','[caption id=\"attachment_315\" align=\"alignleft\" width=\"129\"]<img class=\"wp-image-315 size-full\" src=\"http://tallerpr.org/wp-content/uploads/2013/11/TPPHeart-Logo129pixsAppleTouch.png\" alt=\"Taller\'s Heart Logo- Who We Are\" width=\"129\" height=\"129\" /> Taller is known as El Corazón Cultural del Barrio,<br /> The Cultural Heart of Latino Philadelphia[/caption]\r\n\r\n<span style=\"font-size: small;\"> </span>Taller Puertorriqueño (Taller) has been “Building Community through Art Since 1974”. Known as “The Cultural Heart of Latino Philadelphia,” Taller is a community-based multidisciplinary arts organization whose work bridges European, African, Caribbean and Latino societies and cultures. Taller’s programs work at the nexus of arts, culture, human rights, and social advocacy to catalyze social change towards community advancement. We offer programs for youth and adults, operate art galleries featuring Latin@ artists, the region’s only bilingual bookstore, sponsor musical and theater events, and organize a range of engaging cultural art education programs. Our education programs for at-risk inner city children and youth offer unique art and educational experiences as an effective vehicle to build creative and competent community members. Taller has thrived in a community struggling with high unemployment and dropout rates, drugs, prejudice, and violence. This stands as a testament to the role Taller plays in celebrating this community’s strength, resilience, diversity and cultural richness.\r\n<h3></h3>\r\n<h3></h3>\r\n<h4> The Director and Our Staff</h4>\r\n[caption id=\"attachment_2820\" align=\"aligncenter\" width=\"150\"]<a href=\"http://tallerpr.org/about/a-message-from-the-director/\"><img class=\"wp-image-2820 size-thumbnail\" src=\"http://tallerpr.org/wp-content/uploads/2015/01/Carmen-Febo-San-Miguel-150x150.jpg\" alt=\"Carmen Febo San Miguel\" width=\"150\" height=\"150\" /></a> Carmen Febo San Miguel, Executive Director[/caption]\r\n\r\n&nbsp;\r\n\r\n<em> *Click on a photo for staff profile information </em>\r\n\r\n[gallery columns=\"4\" ids=\"1703,2172,1705,1630,3198,1706,2173,3259,3649,1629,3652\"]\r\n<h3>Board of Directors</h3>\r\n<strong>Edgardo González, Board Chair </strong>\r\n\r\n<strong>Elena Marie Dilapi, Vice Chair</strong>\r\nMSW, QCSW\r\n\r\n<strong>Wilma Guzmán-Pérez\r\n</strong>Human Resources Management\r\n\r\n<strong>Ma</strong><strong>rí</strong><strong>a E. Mills-Torres, Board Secretary</strong>\r\nRetired Educator, Philadelphia School District\r\n\r\n<strong>Deborah A. Finley PhD., Chair, Arts Advisory Committee</strong>\r\nCEO, Interactive Communications, Inc.\r\n\r\n<strong>Ileana M. Helwig, MA., Treasurer</strong><strong>\r\n</strong>Chief Operating Officer\r\nChildren Crisis Treatment Center\r\n\r\n<strong>Rafaela Colón, Chair Individual Solicitation Committee</strong>\r\nSpecial Assistant to the President/CEO, ASPIRA of PA\r\n\r\n<strong>Carmen I. Paris, MPH</strong>\r\nHealth Care and Strategic Project Consultant\r\n\r\n<strong>Benjamín Ramos, MS</strong>\r\nFormer PA State Representative, Community and Economic Development\r\n\r\n<strong>Lisette Gonzalez, M ED</strong>\r\nExecutive Director, Political Office\r\nFriends of Seth Williams\r\n\r\n<strong>Ariel Arnau</strong>,\r\nAdjunct Faculty, Latin American Studies Program',2171,'http://tallerpr.org/2015/05/26/2171-revision-v1/',0,'revision','',0);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3655,641,'2015-05-28 15:35:34','2015-05-28 19:35:34','Each voucher is $35. You may use two (2) voucher codes PER TICKET, whether you purchase a round-trip ticket OR one-way ticket.','Southwest Airline Ticket Voucher','','inherit','closed','closed','','2908-revision-v1','','','2015-05-28 15:35:34','2015-05-28 19:35:34','',2908,'http://tallerpr.org/2015/05/28/2908-revision-v1/',0,'revision','',0);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3683,0,'2015-05-29 09:17:51','2015-05-29 13:17:51','','3680 | Southwest Airline Ticket Voucher | 1','','publish','closed','closed','','3680-southwest-airline-ticket-voucher-1','','','2015-05-29 09:17:51','2015-05-29 13:17:51','',0,'http://tallerpr.org/?post_type=tribe_eddticket&p=3683',0,'tribe_eddticket','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3684,0,'2015-05-29 09:17:51','2015-05-29 13:17:51','','3680 | Southwest Airline Ticket Voucher | 2','','publish','closed','closed','','3680-southwest-airline-ticket-voucher-2','','','2015-05-29 09:17:51','2015-05-29 13:17:51','',0,'http://tallerpr.org/?post_type=tribe_eddticket&p=3684',0,'tribe_eddticket','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3685,2,'2015-05-29 13:36:40','2015-05-29 17:36:40','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\n\n&nbsp;\n\n<strong>When</strong>: June 20 @ 3PM to 5PM\n\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\n\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community.\n\nThe panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\n\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\n\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\n\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\n\n<h3><strong>About the panelists</strong></h3>\n\n<strong>•David Acosta</strong> is an AIDS activist, poet writer, cultural worker and the Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of many awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2015 he was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he has stepped down in 2015 to focus on community arts and his own writing.\n\n•Valentina also known as <strong>Bella</strong>, has been a part of Galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has numerous dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\n\n<strong>•Emmanuel Coreano</strong> is a native Philadelphian and published writer. Being a bisexual person of color, he faced many challenges, however with music, writing, and other creative outlets he found himself. Coreano is truly an artistic and creative person.\n\n<strong>•José Luis Cortés</strong>’<strong>s</strong> work has been exhibited in galleries and museums across the country and as well as in Europe. His work has been reviewed in <em>The New York Times</em>, <em>Art in America</em>, and <em>Out Magazine</em> and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>, and learn more about him at <a href=\"http://jlcortes.com\" target=\"_blank\">jlcortes.com</a>.\n\nCortés is also a founding member of The Archive Project, and was included in the landmark exhibition<em>, The First Ten</em> (1995), which showcased the work of artists living with HIV. Currently he works with urban youth in Puerto Rico, teaching them about art, and how it can become a part of their daily lives. In 2013, Cortés participated in VIAL, an exhibition at the Museo de Arte de Puerto Rico (MAPR).  The exhibition in Taller Puertorriqueño will be his first in Philadelphia\n\n•Since 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Gonzales serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to get a Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\n\n<strong>•Louie A. Ortiz</strong> is a facilitator who uses both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been a part of HIV prevention and youth development programming in Philadelphia. Ortiz understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Ortiz to work with marginalized communities in Philadelphia.\n\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\n\n<strong>•Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics on racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped ease the return of five people who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\n\n&nbsp;\n\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />','Gay & Latino Panel','','publish','closed','closed','','gay-latino-panel','','','2015-07-09 16:50:54','2015-07-09 20:50:54','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\n\n&nbsp;\n\n<strong>When</strong>: June 20 @ 3PM to 5PM\n\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\n\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community.\n\nThe panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\n\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\n\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\n\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\n\n<h3><strong>About the panelists</strong></h3>\n\n<strong>•David Acosta</strong> is an AIDS activist, poet writer, cultural worker and the Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of many awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2015 he was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he has stepped down in 2015 to focus on community arts and his own writing.\n\n•Valentina also known as <strong>Bella</strong>, has been a part of Galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has numerous dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\n\n<strong>•Emmanuel Coreano</strong> is a native Philadelphian and published writer. Being a bisexual person of color, he faced many challenges, however with music, writing, and other creative outlets he found himself. Coreano is truly an artistic and creative person.\n\n<strong>•José Luis Cortés</strong>’<strong>s</strong> work has been exhibited in galleries and museums across the country and as well as in Europe. His work has been reviewed in <em>The New York Times</em>, <em>Art in America</em>, and <em>Out Magazine</em> and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>, and learn more about him at <a href=\"http://jlcortes.com\" target=\"_blank\">jlcortes.com</a>.\n\nCortés is also a founding member of The Archive Project, and was included in the landmark exhibition<em>, The First Ten</em> (1995), which showcased the work of artists living with HIV. Currently he works with urban youth in Puerto Rico, teaching them about art, and how it can become a part of their daily lives. In 2013, Cortés participated in VIAL, an exhibition at the Museo de Arte de Puerto Rico (MAPR).  The exhibition in Taller Puertorriqueño will be his first in Philadelphia\n\n•Since 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Gonzales serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to get a Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\n\n<strong>•Louie A. Ortiz</strong> is a facilitator who uses both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been a part of HIV prevention and youth development programming in Philadelphia. Ortiz understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Ortiz to work with marginalized communities in Philadelphia.\n\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\n\n<strong>•Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics on racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped ease the return of five people who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\n\n&nbsp;\n\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />',0,'http://tallerpr.org/?p=3685',0,'post','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3686,2,'2015-05-29 13:36:40','2015-05-29 17:36:40','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\n\n&nbsp;\n\n<strong>When</strong>: June 20 @ 3PM to 5PM\n\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\n\n&nbsp;\n\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community. The panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\n\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\n\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\n\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\n\n<strong>About the panelist</strong>\n\n<strong> </strong><strong>David Acosta</strong> is an AIDS activist, poet writer, cultural worker and currently Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of numerous awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2105 he was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he is stepped down in 2015 to focus on community arts and his own writing.\n\n<strong>Louie A. Ortiz</strong> is a national renowned facilitator who utilizes both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been an integral part of HIV prevention and youth development programming in Philadelphia. Louie understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Louie to work with and by marginalized communities in Philadelphia.\n\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\n\nSince 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Elicia serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to obtain Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\n\n<strong>Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics relating to racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped facilitate the return of 5 individuals who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\n\n&nbsp;\n\n<strong>Emmanuel Coreano</strong> was born and raised in Philadelphia PA. Being a bisexual person of color, he faced many challenges, however with music, writing, and other artistic outlets he found himself. Published in a magazine for poetry. Emmanuel is truly an artistic individual.\n\nValentina also known as <strong>Bella</strong>, has been apart of galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has numerous dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\n\n<strong>José Luis Cortés</strong> was born in Philadelphia, Pennsylvania to Puerto Rican parents. His family moved to Puerto Rico when he was three years old, and he lived there until the age of 28, when he moved to New York City. A gay man, José Luis’s artistic career began to take shape when he produced work inspired by the 1990’s New York City gay scene. José Luis’s work has been exhibited in galleries and museums in Amsterdam, London, Berlin, New York, Miami, Vienna, among other locations. His work has been reviewed in the New York Times, Art in America, and Out Magazine and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>. and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.','Gay & Latino Panel','','inherit','closed','closed','','3685-revision-v1','','','2015-05-29 13:36:40','2015-05-29 17:36:40','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\r\n\r\n&nbsp;\r\n\r\n<strong>When</strong>: June 20 @ 3PM to 5PM\r\n\r\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\r\n\r\n&nbsp;\r\n\r\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community. The panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\r\n\r\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\r\n\r\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\r\n\r\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\r\n\r\n<strong>About the panelist</strong>\r\n\r\n<strong> </strong><strong>David Acosta</strong> is an AIDS activist, poet writer, cultural worker and currently Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of numerous awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2105 he was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he is stepped down in 2015 to focus on community arts and his own writing.\r\n\r\n<strong>Louie A. Ortiz</strong> is a national renowned facilitator who utilizes both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been an integral part of HIV prevention and youth development programming in Philadelphia. Louie understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Louie to work with and by marginalized communities in Philadelphia.\r\n\r\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\r\n\r\nSince 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Elicia serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to obtain Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\r\n\r\n<strong>Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics relating to racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped facilitate the return of 5 individuals who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\r\n\r\n&nbsp;\r\n\r\n<strong>Emmanuel Coreano</strong> was born and raised in Philadelphia PA. Being a bisexual person of color, he faced many challenges, however with music, writing, and other artistic outlets he found himself. Published in a magazine for poetry. Emmanuel is truly an artistic individual.\r\n\r\nValentina also known as <strong>Bella</strong>, has been apart of galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has numerous dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\r\n\r\n<strong>José Luis Cortés</strong> was born in Philadelphia, Pennsylvania to Puerto Rican parents. His family moved to Puerto Rico when he was three years old, and he lived there until the age of 28, when he moved to New York City. A gay man, José Luis’s artistic career began to take shape when he produced work inspired by the 1990’s New York City gay scene. José Luis’s work has been exhibited in galleries and museums in Amsterdam, London, Berlin, New York, Miami, Vienna, among other locations. His work has been reviewed in the New York Times, Art in America, and Out Magazine and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>. and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.',3685,'http://tallerpr.org/2015/05/29/3685-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3687,2,'2015-07-02 11:57:24','2015-07-02 15:57:24','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\n\n&nbsp;\n\n<strong>When</strong>: June 20 @ 3PM to 5PM\n\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\n\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community.\n\nThe panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\n\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\n\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\n\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\n\n<h3><strong>About the panelists</strong></h3>\n\n<strong>•David Acosta</strong> is an AIDS activist, poet writer, cultural worker and the Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of many awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2015 he was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he has stepped down in 2015 to focus on community arts and his own writing.\n\n•Valentina also known as <strong>Bella</strong>, has been a part of Galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has numerous dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\n\n<strong>•Emmanuel Coreano</strong> is a native Philadelphian and published writer. Being a bisexual person of color, he faced many challenges, however with music, writing, and other creative outlets he found himself. Coreano is truly an artistic and creative person.\n\n<strong>•José Luis Cortés</strong>’<strong>s</strong> work has been exhibited in galleries and museums across the country and as well as in Europe. His work has been reviewed in <em>The New York Times</em>, <em>Art in America</em>, and <em>Out Magazine</em> and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>, and learn more about him at jlcortes.com.\n\nCortés is also a founding member of The Archive Project, and was included in the landmark exhibition<em>, The First Ten</em> (1995), which showcased the work of artists living with HIV. Currently he works with urban youth in Puerto Rico, teaching them about art, and how it can become a part of their daily lives. In 2013, Cortés participated in VIAL, an exhibition at the Museo de Arte de Puerto Rico (MAPR).  The exhibition in Taller Puertorriqueño will be his first in Philadelphia\n\n•Since 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Gonzales serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to get a Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\n\n<strong>•Louie A. Ortiz</strong> is a facilitator who uses both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been a part of HIV prevention and youth development programming in Philadelphia. Ortiz understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Ortiz to work with marginalized communities in Philadelphia.\n\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\n\n<strong>•Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics on racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped ease the return of five people who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\n\n&nbsp;\n\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />','Gay & Latino Panel','','inherit','closed','closed','','3685-autosave-v1','','','2015-07-02 11:57:24','2015-07-02 15:57:24','',3685,'http://tallerpr.org/2015/05/29/3685-autosave-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3688,2,'2015-05-29 14:07:56','2015-05-29 18:07:56','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\n\n&nbsp;\n\n<strong>When</strong>: June 20 @ 3PM to 5PM\n\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\n\n&nbsp;\n\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community. The panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\n\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\n\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\n\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\n\n<strong>About the panelist</strong>\n\n<strong> </strong><strong>David Acosta</strong> is an AIDS activist, poet writer, cultural worker and now Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of many awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2105 he was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he is stepped down in 2015 to focus on community arts and his own writing.\n\n<strong>Louie A. Ortiz</strong> is a national renowned facilitator who uses both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been an part of HIV prevention and youth development programming in Philadelphia. Louie understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Louie to work with and by marginalized communities in Philadelphia.\n\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\n\nSince 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Elicia serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to get a Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\n\n<strong>Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics on racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped ease the return of five people who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\n\n&nbsp;\n\n<strong>Emmanuel Coreano</strong> is native Philadelphian. Being a bisexual person of color, he faced many challenges, however with music, writing, and other artistic outlets he found himself. Published in a magazine for poetry. Emmanuel is truly an artistic and creative person.\n\nValentina also known as <strong>Bella</strong>, has been apart of galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has many dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\n\n<strong>José Luis Cortés</strong> was born in Philadelphia, Pennsylvania to Puerto Rican parents. His family moved to Puerto Rico when he was three years old, and he lived there until the age of 28, when he moved to New York City. A gay man, José Luis’s artistic career began to take shape when he produced work inspired by the 1990’s New York City gay scene. José Luis’s work has been exhibited in galleries and museums in Amsterdam, London, Berlin, New York, Miami, Vienna, among other locations. His work has been reviewed in the New York Times, Art in America, and Out Magazine and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>. and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.','Gay & Latino Panel','','inherit','closed','closed','','3685-revision-v1','','','2015-05-29 14:07:56','2015-05-29 18:07:56','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\r\n\r\n&nbsp;\r\n\r\n<strong>When</strong>: June 20 @ 3PM to 5PM\r\n\r\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\r\n\r\n&nbsp;\r\n\r\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community. The panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\r\n\r\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\r\n\r\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\r\n\r\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\r\n\r\n<strong>About the panelist</strong>\r\n\r\n<strong> </strong><strong>David Acosta</strong> is an AIDS activist, poet writer, cultural worker and now Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of many awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2105 he was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he is stepped down in 2015 to focus on community arts and his own writing.\r\n\r\n<strong>Louie A. Ortiz</strong> is a national renowned facilitator who uses both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been an part of HIV prevention and youth development programming in Philadelphia. Louie understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Louie to work with and by marginalized communities in Philadelphia.\r\n\r\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\r\n\r\nSince 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Elicia serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to get a Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\r\n\r\n<strong>Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics on racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped ease the return of five people who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\r\n\r\n&nbsp;\r\n\r\n<strong>Emmanuel Coreano</strong> is native Philadelphian. Being a bisexual person of color, he faced many challenges, however with music, writing, and other artistic outlets he found himself. Published in a magazine for poetry. Emmanuel is truly an artistic and creative person.\r\n\r\nValentina also known as <strong>Bella</strong>, has been apart of galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has many dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\r\n\r\n<strong>José Luis Cortés</strong> was born in Philadelphia, Pennsylvania to Puerto Rican parents. His family moved to Puerto Rico when he was three years old, and he lived there until the age of 28, when he moved to New York City. A gay man, José Luis’s artistic career began to take shape when he produced work inspired by the 1990’s New York City gay scene. José Luis’s work has been exhibited in galleries and museums in Amsterdam, London, Berlin, New York, Miami, Vienna, among other locations. His work has been reviewed in the New York Times, Art in America, and Out Magazine and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>. and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.',3685,'http://tallerpr.org/2015/05/29/3685-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3689,2,'2015-05-29 14:09:11','2015-05-29 18:09:11','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\n\n&nbsp;\n\n<strong>When</strong>: June 20 @ 3PM to 5PM\n\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\n\n&nbsp;\n\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community. The panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\n\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\n\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\n\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\n\n<strong>About the panelist</strong>\n\n<strong> </strong><strong>David Acosta</strong> is an AIDS activist, poet writer, cultural worker and now Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of many awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2105 he was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he is stepped down in 2015 to focus on community arts and his own writing.\n\n<strong>Louie A. Ortiz</strong> is a national renowned facilitator who uses both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been an part of HIV prevention and youth development programming in Philadelphia. Louie understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Louie to work with and by marginalized communities in Philadelphia.\n\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\n\nSince 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Elicia serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to get a Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\n\n<strong>Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics on racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped ease the return of five people who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\n\n&nbsp;\n\n<strong>Emmanuel Coreano</strong> is native Philadelphian. Being a bisexual person of color, he faced many challenges, however with music, writing, and other artistic outlets he found himself. Published in a magazine for poetry. Emmanuel is truly an artistic and creative person.\n\nValentina also known as <strong>Bella</strong>, has been apart of galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has many dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\n\n<strong>José Luis Cortés</strong> was born in Philadelphia, Pennsylvania to Puerto Rican parents. His family moved to Puerto Rico when he was three years old, and he lived there until the age of 28, when he moved to New York City. A gay man, José Luis’s artistic career began to take shape when he produced work inspired by the 1990’s New York City gay scene. José Luis’s work has been exhibited in galleries and museums in Amsterdam, London, Berlin, New York, Miami, Vienna, among other locations. His work has been reviewed in the New York Times, Art in America, and Out Magazine and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>. and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.\n\n&nbsp;\n\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />','Gay & Latino Panel','','inherit','closed','closed','','3685-revision-v1','','','2015-05-29 14:09:11','2015-05-29 18:09:11','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\r\n\r\n&nbsp;\r\n\r\n<strong>When</strong>: June 20 @ 3PM to 5PM\r\n\r\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\r\n\r\n&nbsp;\r\n\r\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community. The panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\r\n\r\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\r\n\r\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\r\n\r\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\r\n\r\n<strong>About the panelist</strong>\r\n\r\n<strong> </strong><strong>David Acosta</strong> is an AIDS activist, poet writer, cultural worker and now Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of many awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2105 he was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he is stepped down in 2015 to focus on community arts and his own writing.\r\n\r\n<strong>Louie A. Ortiz</strong> is a national renowned facilitator who uses both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been an part of HIV prevention and youth development programming in Philadelphia. Louie understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Louie to work with and by marginalized communities in Philadelphia.\r\n\r\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\r\n\r\nSince 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Elicia serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to get a Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\r\n\r\n<strong>Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics on racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped ease the return of five people who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\r\n\r\n&nbsp;\r\n\r\n<strong>Emmanuel Coreano</strong> is native Philadelphian. Being a bisexual person of color, he faced many challenges, however with music, writing, and other artistic outlets he found himself. Published in a magazine for poetry. Emmanuel is truly an artistic and creative person.\r\n\r\nValentina also known as <strong>Bella</strong>, has been apart of galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has many dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\r\n\r\n<strong>José Luis Cortés</strong> was born in Philadelphia, Pennsylvania to Puerto Rican parents. His family moved to Puerto Rico when he was three years old, and he lived there until the age of 28, when he moved to New York City. A gay man, José Luis’s artistic career began to take shape when he produced work inspired by the 1990’s New York City gay scene. José Luis’s work has been exhibited in galleries and museums in Amsterdam, London, Berlin, New York, Miami, Vienna, among other locations. His work has been reviewed in the New York Times, Art in America, and Out Magazine and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>. and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.\r\n\r\n&nbsp;\r\n\r\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />',3685,'http://tallerpr.org/2015/05/29/3685-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3690,2,'2015-05-29 17:06:20','2015-05-29 21:06:20','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\n\n&nbsp;\n\n<strong>When</strong>: June 20 @ 3PM to 5PM\n\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\n\n&nbsp;\n\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community. The panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\n\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\n\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\n\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\n\n<strong>About the panelist</strong>\n\n<strong> </strong><strong>David Acosta</strong> is an AIDS activist, poet writer, cultural worker and now Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of many awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2o15 he  was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he has stepped down in 2015 to focus on community arts and his own writing.\n\n<strong>Louie A. Ortiz</strong> is a national renowned facilitator who uses both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been an part of HIV prevention and youth development programming in Philadelphia. Louie understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Louie to work with and by marginalized communities in Philadelphia.\n\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\n\nSince 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Elicia serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to get a Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\n\n<strong>Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics on racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped ease the return of five people who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\n\n<strong>Emmanuel Coreano</strong> is a native Philadelphian and published writer. Being a bisexual person of color, he faced many challenges, however with music, writing, and other creative outlets he found himself.  Coreano is truly an artistic and creative person\n\nValentina also known as <strong>Bella</strong>, has been apart of galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has many dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\n\n<strong>José Luis Cortés</strong> was born in Philadelphia, Pennsylvania to Puerto Rican parents. His family moved to Puerto Rico when he was three years old, and he lived there until the age of 28, when he moved to New York City. A gay man, José Luis’s artistic career began to take shape when he produced work inspired by the 1990’s New York City gay scene. José Luis’s work has been exhibited in galleries and museums in Amsterdam, London, Berlin, New York, Miami, Vienna, among other locations. His work has been reviewed in the New York Times, Art in America, and Out Magazine and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>. and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.\n\n&nbsp;\n\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />','Gay & Latino Panel','','inherit','closed','closed','','3685-revision-v1','','','2015-05-29 17:06:20','2015-05-29 21:06:20','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\r\n\r\n&nbsp;\r\n\r\n<strong>When</strong>: June 20 @ 3PM to 5PM\r\n\r\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\r\n\r\n&nbsp;\r\n\r\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community. The panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\r\n\r\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\r\n\r\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\r\n\r\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\r\n\r\n<strong>About the panelist</strong>\r\n\r\n<strong> </strong><strong>David Acosta</strong> is an AIDS activist, poet writer, cultural worker and now Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of many awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2o15 he  was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he has stepped down in 2015 to focus on community arts and his own writing.\r\n\r\n<strong>Louie A. Ortiz</strong> is a national renowned facilitator who uses both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been an part of HIV prevention and youth development programming in Philadelphia. Louie understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Louie to work with and by marginalized communities in Philadelphia.\r\n\r\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\r\n\r\nSince 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Elicia serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to get a Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\r\n\r\n<strong>Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics on racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped ease the return of five people who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\r\n\r\n<strong>Emmanuel Coreano</strong> is a native Philadelphian and published writer. Being a bisexual person of color, he faced many challenges, however with music, writing, and other creative outlets he found himself.  Coreano is truly an artistic and creative person\r\n\r\nValentina also known as <strong>Bella</strong>, has been apart of galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has many dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\r\n\r\n<strong>José Luis Cortés</strong> was born in Philadelphia, Pennsylvania to Puerto Rican parents. His family moved to Puerto Rico when he was three years old, and he lived there until the age of 28, when he moved to New York City. A gay man, José Luis’s artistic career began to take shape when he produced work inspired by the 1990’s New York City gay scene. José Luis’s work has been exhibited in galleries and museums in Amsterdam, London, Berlin, New York, Miami, Vienna, among other locations. His work has been reviewed in the New York Times, Art in America, and Out Magazine and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>. and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.\r\n\r\n&nbsp;\r\n\r\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />',3685,'http://tallerpr.org/2015/05/29/3685-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3691,2,'2015-05-29 17:07:49','2015-05-29 21:07:49','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\n\n&nbsp;\n\n<strong>When</strong>: June 20 @ 3PM to 5PM\n\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\n\n&nbsp;\n\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community. The panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\n\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\n\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\n\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\n\n<strong>About the panelists</strong>\n\n<strong>David Acosta</strong> is an AIDS activist, poet writer, cultural worker and now Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of many awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2o15 he  was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he has stepped down in 2015 to focus on community arts and his own writing.\n\n<strong>Louie A. Ortiz</strong> is a national renowned facilitator who uses both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been an part of HIV prevention and youth development programming in Philadelphia. Louie understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Louie to work with and by marginalized communities in Philadelphia.\n\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\n\nSince 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Elicia serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to get a Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\n\n<strong>Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics on racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped ease the return of five people who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\n\n<strong>Emmanuel Coreano</strong> is a native Philadelphian and published writer. Being a bisexual person of color, he faced many challenges, however with music, writing, and other creative outlets he found himself.  Coreano is truly an artistic and creative person\n\nValentina also known as <strong>Bella</strong>, has been apart of Galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has many dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\n\n<strong>José Luis Cortés</strong> was born in Philadelphia, Pennsylvania to Puerto Rican parents. His family moved to Puerto Rico when he was three years old, and he lived there until the age of 28, when he moved to New York City. A gay man, José Luis’s artistic career began to take shape when he produced work inspired by the 1990’s New York City gay scene. José Luis’s work has been exhibited in galleries and museums in Amsterdam, London, Berlin, New York, Miami, Vienna, among other locations. His work has been reviewed in the New York Times, Art in America, and Out Magazine and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>. and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.\n\n&nbsp;\n\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />','Gay & Latino Panel','','inherit','closed','closed','','3685-revision-v1','','','2015-05-29 17:07:49','2015-05-29 21:07:49','<img class=\"aligncenter wp-image-3517 size-large\" src=\"http://tallerpr.org/wp-content/uploads/2015/04/Gay-Latino-1024x394.png\" alt=\"Gay &amp; Latino Panel Discussion\" width=\"1024\" height=\"394\" />\r\n\r\n&nbsp;\r\n\r\n<strong>When</strong>: June 20 @ 3PM to 5PM\r\n\r\n<strong>Where:</strong> Taller Puertorriqueño, 2721 N. 5<sup>th</sup> St\r\n\r\n&nbsp;\r\n\r\nAs part of <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present a panel discussion on important issues affecting the LGBTQ Latino community. The panel will examine, from different perspectives, their past, and the current and future paths. The topics addressed will include the discussions of the intersectionalities of insider/outsider, invisibility, homophobia, resilience, migration, ethnicity, race, class, and gender, the impact of the HIV/AIDS epidemic, and the social and political organization of LGBTQ Latinos in the United States and Puerto Rico. This will be a public and open forum.\r\n\r\nPanel participants include: José Luis Cortés, artist; Elicia Gonzales, Executive Director of GALAEI; Erika Guadalupe Núñes, artist and community organizer; Emmanuel Coreano, a youth member at GALAEI; Bella,a trans* identifying youth who is passionate about the Queer community; and Louie A. Ortiz from <a href=\"http://thegranvarones.com/\">The Gran Varones Project</a>.  David Acosta, AIDS activist, writer, cultural worker and current artistic director for <a href=\"http://www.casadeduende.com/\">Casa de Duende</a>, will moderate the discussion.\r\n\r\nThis is part of the citywide celebration of the 50th anniversary of the Reminder Day demonstrations in Philadelphia. For more information on the celebration go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\r\n\r\nFor more information on the panel contact Rafael Damast at <a href=\"mailto:rdamast@tallerpr.org\">rdamast@tallerpr.org</a> or by phone at 215-426-3311.\r\n\r\n<strong>About the panelists</strong>\r\n\r\n<strong>David Acosta</strong> is an AIDS activist, poet writer, cultural worker and now Artistic Director for Casa De Duende. His writings have appeared in many literary journals and anthologies. Among the most notable are Mayrea, The Evergreen Chronicles, The Americas Review, American Poetry Confronts the 1990s (Black Tie Press 1990), The Limits of Silence (Asterion Press 1991), Poesida (Ollantay Press, 1995), and Floating Borderlands: Twenty-Five Years of Latin American Poetry in The United States (University of Washington Press, 1998). He will be included in the first anthology of Latino LGBT history in the United States and Puerto Rico to be published by University of Texas Press in September of 2015. He is the recipient of many awards for his long time-work on LGBT civil rights and HIV/AIDS advocacy. He was the founder and Executive Director of the GALAEI Project from 1987-1997. From 1997 to 2o15 he  was the Coordinator of HIV Prevention Programs for the Philadelphia Department of Public Health’s AIDS Activities Coordinating Office; he has stepped down in 2015 to focus on community arts and his own writing.\r\n\r\n<strong>Louie A. Ortiz</strong> is a national renowned facilitator who uses both his passion for working disenfranchised communities to promote team building and organizational development. Over the last 20 years, he has worked with influential nationally recognized agencies and has been an part of HIV prevention and youth development programming in Philadelphia. Louie understands first hand the impact of the intersecting oppressions of poverty, homophobia, AIDS phobia and racism. These experiences continue to inspire Louie to work with and by marginalized communities in Philadelphia.\r\n\r\nOrtiz is also a published spoken word artist and photographer. His current project, “The Gran Varones” is a documentary and photo essay highlighting the experiences of Latino Gay and Queer* Men in Philadelphia.\r\n\r\nSince 2009<strong>, Elicia Gonzales</strong> has enthusiastically served as Executive Director for GALAEI: A queer Latin@ Social Justice Organization where she leads a team of dedicated, hard-working, and passionate individuals. Elicia serves on the Board of Planned Parenthood of Southeastern PA, on the Community Advisory Board for the UPENN Mental Health and AIDS Research Center, and on the Leadership Council for the National Latino AIDS Action Network. She has worked in the social justice field for more than 16 years in various capacities ranging from reproductive justice to queer Latino social justice. Gonzales moved to Philadelphia in 2004 to get a Masters degrees in Social Work and Human Sexuality Education from Widener University. She is originally from Denver, Colorado where all of her beloved family resides.\r\n\r\n<strong>Erika Guadalupe Núñez</strong> is a queer artist and activist who works with Migrant Power Movement, National Immigrant Youth Alliance, and Juntos focusing on topics on racial justice and immigrant rights. She came to the U.S. from Mexico when she was a young child and was undocumented until she received her green card in 2013. Most recently, Núñez\'s part in the movement involved working on NIYA\'s \"Bring Them Home\" campaign where she helped ease the return of five people who were deported. She was also part of a civil disobedience action that ended a private prison contract between Immigration &amp; Custom\'s Enforcement and Montgomery County Correctional Facility. Her other work includes working on ending deportation cases, creating art for rallies and campaigns, and holding workshops for the community. Erika also serves on the board of Juntos and is a member of their LGBT Committee.\r\n\r\n<strong>Emmanuel Coreano</strong> is a native Philadelphian and published writer. Being a bisexual person of color, he faced many challenges, however with music, writing, and other creative outlets he found himself.  Coreano is truly an artistic and creative person\r\n\r\nValentina also known as <strong>Bella</strong>, has been apart of Galaei for 4 yrs. She is a trans* identifying youth who is passionate about the Queer community. Bella has many dreams and goals - from starting a home for Trans identifying youth to opening a LGBTQ &amp; Ally Charter school in Philadelphia.\r\n\r\n<strong>José Luis Cortés</strong> was born in Philadelphia, Pennsylvania to Puerto Rican parents. His family moved to Puerto Rico when he was three years old, and he lived there until the age of 28, when he moved to New York City. A gay man, José Luis’s artistic career began to take shape when he produced work inspired by the 1990’s New York City gay scene. José Luis’s work has been exhibited in galleries and museums in Amsterdam, London, Berlin, New York, Miami, Vienna, among other locations. His work has been reviewed in the New York Times, Art in America, and Out Magazine and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>. and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.\r\n\r\n&nbsp;\r\n\r\n<img class=\"aligncenter size-full wp-image-2572\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos.jpg\" alt=\"Andy &amp; Peco Logos\" width=\"465\" height=\"85\" />',3685,'http://tallerpr.org/2015/05/29/3685-revision-v1/',0,'revision','',0);
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INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3703,2,'2015-06-02 10:27:14','2015-06-02 14:27:14','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\n\n<h4 style=\"text-align: center;\">José Luis Cortés</h4>\n\n<h3 style=\"text-align: center;\">EN BLANCO Y NEGRO</h3>\n\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\n\n<p style=\"text-align: center;\"><strong>On view:  June 12 to July 25, 2015</strong></p>\n\n<p style=\"text-align: center;\"><strong>Reception with artist</strong>: June 12 @ 5:30PM to 8PM</p>\n\nAs part of the citywide celebration of the 50<sup>th</sup> anniversary of the Reminder Day demonstrations, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present in June, <strong>En Blanco y Negro: Gay &amp; Boricua</strong>, an exhibition of the artwork of José Luis Cortés.\n\n[caption id=\"attachment_3720\" align=\"alignleft\" width=\"150\"]<img class=\"wp-image-3720 size-thumbnail\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/En-Blanco-Headshot-150x150.jpg\" alt=\"José Luis Cortés photo by ADAL\" width=\"150\" height=\"150\" /> Photograph of<br /> José Luis Cortés<br /> ADÁL, 2014[/caption]\n\nJosé Luis Cortés a native Philadelphian, is a painter, performance and video artist, who is known for his artwork inspired by his time in New York City in the early 1990’s.  Cortés’ very personal work reflects the underbelly of gay life – documenting a life on the fringes of society:  of sex workers, addiction, and of a rapidly-changing landscape.   He is an artist who, with his work, validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés’ work has been exhibited in galleries and museums across the country as well as in Europe. His work has been reviewed in <em>The New York Times</em>, <em>Art in America</em>, <em>Out Magazine</em> and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>, and learn more about him at <a href=\"http://jlcortes.com\" target=\"_blank\">jlcortes.com</a>.\n\nCortés is also a founding member of The Archive Project, and was included in the landmark exhibition<em>, The First Ten</em> (1995), which showcased the work of artists living with HIV. Currently he works with urban youth in Puerto Rico, teaching them about art, and how it can become a part of their daily lives. In 2013, Cortés participated in <a href=\"http://www.mapr.org/es/visita/calendario/vial-exposicion-y-certamen-internacional-de-creacion-e-interpretacion-digital\" target=\"_blank\">VIAL</a>, an exhibition at the Museo de Arte de Puerto Rico (MAPR).  The exhibition in Taller Puertorriqueño will be his first in Philadelphia.\n\nFollowing the exhibition, on June 20<sup>th</sup> at 3PM, there will be a panel discussion at Taller Puertorriqueño on gay and Latino issues led by the writer and AIDS activist, David Acosta.\n\nFor more information on the panel go to: <a href=\"http://tallerpr.org/event/gay-latino-panel-discussion\">http://tallerpr.org/event/gay-latino-panel-discussion</a>\n\nFor more information on the 50th anniversary of the Reminder Day demonstrations go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\n\nThis exhibition and cycle was made possible by grants from PECO and The Andy Warhol Foundation for the Visual Arts.\n\n<img class=\"aligncenter wp-image-2572 size-medium\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos-300x54.jpg\" alt=\"Peco and Andy Warhol Foundation for the Arts\" width=\"300\" height=\"54\" />','En Blanco Y Negro: Gay & Boricua','','publish','closed','closed','','en-blanco-y-negro-gay-boricua','','','2015-08-06 10:34:52','2015-08-06 14:34:52','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\r\n<h4 style=\"text-align: center;\">José Luis Cortés</h4>\r\n<h3 style=\"text-align: center;\">EN BLANCO Y NEGRO</h3>\r\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\r\n<p style=\"text-align: center;\"><strong>On view:  June 12 to July 25, 2015</strong></p>\r\n<p style=\"text-align: center;\"><strong>Reception with artist</strong>: June 12 @ 5:30PM to 8PM</p>\r\nAs part of the citywide celebration of the 50<sup>th</sup> anniversary of the Reminder Day demonstrations, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present in June, <strong>En Blanco y Negro: Gay &amp; Boricua</strong>, an exhibition of the artwork of José Luis Cortés.\r\n\r\n[caption id=\"attachment_3720\" align=\"alignleft\" width=\"150\"]<img class=\"wp-image-3720 size-thumbnail\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/En-Blanco-Headshot-150x150.jpg\" alt=\"José Luis Cortés photo by ADAL\" width=\"150\" height=\"150\" /> Photograph of<br /> José Luis Cortés<br /> ADÁL, 2014[/caption]\r\n\r\nJosé Luis Cortés a native Philadelphian, is a painter, performance and video artist, who is known for his artwork inspired by his time in New York City in the early 1990’s.  Cortés’ very personal work reflects the underbelly of gay life – documenting a life on the fringes of society:  of sex workers, addiction, and of a rapidly-changing landscape.   He is an artist who, with his work, validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés’ work has been exhibited in galleries and museums across the country as well as in Europe. His work has been reviewed in <em>The New York Times</em>, <em>Art in America</em>, <em>Out Magazine</em> and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>, and learn more about him at <a href=\"http://jlcortes.com\" target=\"_blank\">jlcortes.com</a>.\r\n\r\nCortés is also a founding member of The Archive Project, and was included in the landmark exhibition<em>, The First Ten</em> (1995), which showcased the work of artists living with HIV. Currently he works with urban youth in Puerto Rico, teaching them about art, and how it can become a part of their daily lives. In 2013, Cortés participated in <a href=\"http://www.mapr.org/es/visita/calendario/vial-exposicion-y-certamen-internacional-de-creacion-e-interpretacion-digital\" target=\"_blank\">VIAL</a>, an exhibition at the Museo de Arte de Puerto Rico (MAPR).  The exhibition in Taller Puertorriqueño will be his first in Philadelphia.\r\n\r\nFollowing the exhibition, on June 20<sup>th</sup> at 3PM, there will be a panel discussion at Taller Puertorriqueño on gay and Latino issues led by the writer and AIDS activist, David Acosta.\r\n\r\nFor more information on the panel go to: <a href=\"http://tallerpr.org/event/gay-latino-panel-discussion\">http://tallerpr.org/event/gay-latino-panel-discussion</a>\r\n\r\nFor more information on the 50th anniversary of the Reminder Day demonstrations go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\r\n\r\nThis exhibition and cycle was made possible by grants from PECO and The Andy Warhol Foundation for the Visual Arts.\r\n\r\n<img class=\"aligncenter wp-image-2572 size-medium\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos-300x54.jpg\" alt=\"Peco and Andy Warhol Foundation for the Arts\" width=\"300\" height=\"54\" />',0,'http://tallerpr.org/?p=3703',0,'post','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3704,2,'2015-06-01 17:36:10','2015-06-01 21:36:10','','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-revision-v1','','','2015-06-01 17:36:10','2015-06-01 21:36:10','',3703,'http://tallerpr.org/2015/06/01/3703-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3705,2,'2015-06-02 10:14:07','2015-06-02 14:14:07','The process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\n\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\n\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example- “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\n\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led onto the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\n\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\n\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin in underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\n\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-revision-v1','','','2015-06-02 10:14:07','2015-06-02 14:14:07','The process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\r\n\r\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\r\n\r\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example- “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\r\n\r\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led onto the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\r\n\r\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\r\n\r\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin in underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\r\n\r\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.',3703,'http://tallerpr.org/2015/06/02/3703-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3706,2,'2015-06-02 10:16:11','2015-06-02 14:16:11','José Luis Cortés,\n\"Stairway to Eros\" (1996), Guache on newsprint','Stairway to Eros','José Luis Cortés,\n\"Stairway to Eros\" (1996), Gouache on newsprint','inherit','closed','closed','','stairway-to-eros','','','2015-06-02 10:18:58','2015-06-02 14:18:58','',3703,'http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg',0,'attachment','image/jpeg',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3707,2,'2015-06-02 10:19:50','2015-06-02 14:19:50','The process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\n\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\n\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example- “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\n\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\n\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led onto the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\n\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\n\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin in underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\n\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-revision-v1','','','2015-06-02 10:19:50','2015-06-02 14:19:50','The process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\r\n\r\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\r\n\r\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example- “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\r\n\r\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\r\n\r\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led onto the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\r\n\r\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\r\n\r\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin in underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\r\n\r\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.',3703,'http://tallerpr.org/2015/06/02/3703-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3708,2,'2015-06-02 10:20:26','2015-06-02 14:20:26','José Luis Cortés,\n\"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint','Self Portrait with G-string Full of Money (1996','José Luis Cortés,\n\"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint','inherit','closed','closed','','unnamed-17','','','2015-06-02 10:26:26','2015-06-02 14:26:26','',3703,'http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg',0,'attachment','image/jpeg',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3709,2,'2015-06-02 10:27:15','2015-06-02 14:27:15','The process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\n\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\n\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example- “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\n\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\n\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led onto the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\n\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\n\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\n\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\n\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\n\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-revision-v1','','','2015-06-02 10:27:15','2015-06-02 14:27:15','The process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\r\n\r\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\r\n\r\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example- “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\r\n\r\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\r\n\r\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led onto the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\r\n\r\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\r\n\r\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\r\n\r\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\r\n\r\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\r\n\r\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.',3703,'http://tallerpr.org/2015/06/02/3703-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3710,2,'2015-06-18 09:49:27','2015-06-18 13:49:27','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\n\n<h4 style=\"text-align: center;\">José Luis Cortés</h4>\n\n<h3 style=\"text-align: center;\">EN BLANCO Y NEGRO</h3>\n\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\n\n<p style=\"text-align: center;\"><strong>On view:  June 12 to July 25, 2015</strong></p>\n\n<p style=\"text-align: center;\"><strong>Reception with artist</strong>: June 12 @ 5:30PM to 8PM</p>\n\nAs part of the citywide celebration of the 50<sup>th</sup> anniversary of the Reminder Day demonstrations, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present in June, <strong>En Blanco y Negro: Gay &amp; Boricua</strong>, an exhibition of the artwork of José Luis Cortés.\n\n[caption id=\"attachment_3720\" align=\"alignleft\" width=\"150\"]<img class=\"wp-image-3720 size-thumbnail\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/En-Blanco-Headshot-150x150.jpg\" alt=\"José Luis Cortés photo by ADAL\" width=\"150\" height=\"150\" /> Photograph of<br /> José Luis Cortés<br /> ADÁL, 2014[/caption]\n\nJosé Luis Cortés a native Philadelphian, is a painter, performance and video artist, who is known for his artwork inspired by his time in New York City in the early 1990’s.  Cortés’ very personal work reflects the underbelly of gay life – documenting a life on the fringes of society:  of sex workers, addiction, and of a rapidly-changing landscape.   He is an artist who, with his work, validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés’ work has been exhibited in galleries and museums across the country as well as in Europe. His work has been reviewed in <em>The New York Times</em>, <em>Art in America</em>, <em>Out Magazine</em> and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>, and learn more about him at Jlcortes.com.\n\nCortés is also a founding member of The Archive Project, and was included in the landmark exhibition<em>, The First Ten</em> (1995), which showcased the work of artists living with HIV. Currently he works with urban youth in Puerto Rico, teaching them about art, and how it can become a part of their daily lives. In 2013, Cortés participated in <a href=\"http://www.mapr.org/es/visita/calendario/vial-exposicion-y-certamen-internacional-de-creacion-e-interpretacion-digital\" target=\"_blank\">VIAL</a>, an exhibition at the Museo de Arte de Puerto Rico (MAPR).  The exhibition in Taller Puertorriqueño will be his first in Philadelphia.\n\nFollowing the exhibition, on June 20<sup>th</sup> at 3PM, there will be a panel discussion at Taller Puertorriqueño on gay and Latino issues led by the writer and AIDS activist, David Acosta.\n\nFor more information on the panel go to: <a href=\"http://tallerpr.org/event/gay-latino-panel-discussion\">http://tallerpr.org/event/gay-latino-panel-discussion</a>\n\nFor more information on the 50th anniversary of the Reminder Day demonstrations go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\n\n<strong>Black and White, Gay and Boricua the Art of José Luis Cortés </strong>\n\nby Rafael Damast\n\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\n\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\n\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\n\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\n\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\n\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\n\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\n\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\n\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\n\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\n\nFor more information on the 50th anniversary of the Reminder Day demonstrations go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\n\nThis exhibition and cycle was made possible by grants from PECO and The Andy Warhol Foundation for the Visual Arts.\n\n<img class=\"aligncenter wp-image-2572 size-medium\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos-300x54.jpg\" alt=\"Peco and Andy Warhol Foundation for the Arts\" width=\"300\" height=\"54\" />','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-autosave-v1','','','2015-06-18 09:49:27','2015-06-18 13:49:27','',3703,'http://tallerpr.org/2015/06/02/3703-autosave-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3711,2,'2015-06-02 10:29:11','2015-06-02 14:29:11','The process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\n\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\n\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\n\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\n\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\n\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\n\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\n\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\n\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\n\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-revision-v1','','','2015-06-02 10:29:11','2015-06-02 14:29:11','The process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\r\n\r\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\r\n\r\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\r\n\r\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\r\n\r\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\r\n\r\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\r\n\r\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\r\n\r\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\r\n\r\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\r\n\r\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.',3703,'http://tallerpr.org/2015/06/02/3703-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3712,2,'2015-06-02 10:37:40','2015-06-02 14:37:40','&nbsp;\n\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\n\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\n\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\n\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\n\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\n\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\n\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\n\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\n\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\n\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\n\nEssay by Rafael Damast','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-revision-v1','','','2015-06-02 10:37:40','2015-06-02 14:37:40','&nbsp;\r\n\r\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\r\n\r\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\r\n\r\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\r\n\r\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\r\n\r\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\r\n\r\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\r\n\r\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\r\n\r\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\r\n\r\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\r\n\r\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\r\n\r\nEssay by Rafael Damast',3703,'http://tallerpr.org/2015/06/02/3703-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3715,2,'2015-06-02 12:10:05','2015-06-02 16:10:05','','The Playpen','','inherit','closed','closed','','the-playpen','','','2015-06-02 12:12:17','2015-06-02 16:12:17','',3703,'http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen.png',0,'attachment','image/png',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3716,2,'2015-06-02 12:12:31','2015-06-02 16:12:31','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\n\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\n\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\n\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\n\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\n\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\n\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\n\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\n\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\n\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\n\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\n\nEssay by Rafael Damast','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-revision-v1','','','2015-06-02 12:12:31','2015-06-02 16:12:31','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\r\n\r\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\r\n\r\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\r\n\r\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\r\n\r\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\r\n\r\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\r\n\r\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\r\n\r\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\r\n\r\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\r\n\r\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\r\n\r\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\r\n\r\nEssay by Rafael Damast',3703,'http://tallerpr.org/2015/06/02/3703-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3717,2,'2015-06-02 12:15:33','2015-06-02 16:15:33','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\n\n&nbsp;\n\n<h2 style=\"text-align: center;\">José Luis Cortés</h2>\n\n<h2 style=\"text-align: center;\">EN BLANCO Y NEGRO</h2>\n\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\n\n<p style=\"text-align: center;\"><strong>June 12 to July 25, 2015</strong></p>\n\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\n\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\n\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\n\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\n\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\n\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\n\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\n\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\n\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\n\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\n\nEssay by Rafael Damast','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-revision-v1','','','2015-06-02 12:15:33','2015-06-02 16:15:33','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\r\n\r\n&nbsp;\r\n<h2 style=\"text-align: center;\">José Luis Cortés</h2>\r\n<h2 style=\"text-align: center;\">EN BLANCO Y NEGRO</h2>\r\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\r\n<p style=\"text-align: center;\"><strong>June 12 to July 25, 2015</strong></p>\r\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\r\n\r\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\r\n\r\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\r\n\r\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\r\n\r\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\r\n\r\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\r\n\r\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\r\n\r\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\r\n\r\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\r\n\r\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\r\n\r\nEssay by Rafael Damast',3703,'http://tallerpr.org/2015/06/02/3703-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3718,2,'2015-06-02 12:20:31','2015-06-02 16:20:31','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\n\n&nbsp;\n\n&nbsp;\n\n<h4 style=\"text-align: center;\">José Luis Cortés</h4>\n\n<h3 style=\"text-align: center;\">EN BLANCO Y NEGRO</h3>\n\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\n\n<p style=\"text-align: center;\"><strong>June 12 to July 25, 2015</strong></p>\n\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\n\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\n\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\n\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\n\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\n\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\n\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\n\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\n\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\n\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\n\nEssay by Rafael Damast','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-revision-v1','','','2015-06-02 12:20:31','2015-06-02 16:20:31','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h4 style=\"text-align: center;\">José Luis Cortés</h4>\r\n<h3 style=\"text-align: center;\">EN BLANCO Y NEGRO</h3>\r\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\r\n<p style=\"text-align: center;\"><strong>June 12 to July 25, 2015</strong></p>\r\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\r\n\r\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\r\n\r\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\r\n\r\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\r\n\r\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\r\n\r\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\r\n\r\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\r\n\r\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\r\n\r\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\r\n\r\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\r\n\r\nEssay by Rafael Damast',3703,'http://tallerpr.org/2015/06/02/3703-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3719,2,'2015-06-02 12:21:07','2015-06-02 16:21:07','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\n\n<h4 style=\"text-align: center;\">José Luis Cortés</h4>\n\n<h3 style=\"text-align: center;\">EN BLANCO Y NEGRO</h3>\n\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\n\n<p style=\"text-align: center;\"><strong>June 12 to July 25, 2015</strong></p>\n\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\n\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\n\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\n\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\n\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\n\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\n\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\n\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\n\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\n\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\n\nEssay by Rafael Damast','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-revision-v1','','','2015-06-02 12:21:07','2015-06-02 16:21:07','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\r\n<h4 style=\"text-align: center;\">José Luis Cortés</h4>\r\n<h3 style=\"text-align: center;\">EN BLANCO Y NEGRO</h3>\r\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\r\n<p style=\"text-align: center;\"><strong>June 12 to July 25, 2015</strong></p>\r\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\r\n\r\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\r\n\r\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\r\n\r\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\r\n\r\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\r\n\r\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\r\n\r\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\r\n\r\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\r\n\r\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\r\n\r\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\r\n\r\nEssay by Rafael Damast',3703,'http://tallerpr.org/2015/06/02/3703-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3720,2,'2015-06-02 15:58:47','2015-06-02 19:58:47','Photograph of\nJosé Luis Cortés\nADÁL, 2014','José Luis Cortes','Photograph of\nJosé Luis Cortés\nADÁL, 2014','inherit','closed','closed','','en-blanco-headshot','','','2015-06-02 16:00:01','2015-06-02 20:00:01','',3703,'http://tallerpr.org/wp-content/uploads/2015/06/En-Blanco-Headshot.jpg',0,'attachment','image/jpeg',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3721,2,'2015-06-02 16:00:26','2015-06-02 20:00:26','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\n\n<h4 style=\"text-align: center;\">José Luis Cortés</h4>\n\n<h3 style=\"text-align: center;\">EN BLANCO Y NEGRO</h3>\n\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\n\n<p style=\"text-align: center;\"><strong>June 12 to July 25, 2015</strong></p>\n\n[caption id=\"attachment_3720\" align=\"alignleft\" width=\"150\"]<img class=\"wp-image-3720 size-thumbnail\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/En-Blanco-Headshot-150x150.jpg\" alt=\"José Luis Cortés photo by ADAL\" width=\"150\" height=\"150\" /> Photograph of<br /> José Luis Cortés<br /> ADÁL, 2014[/caption]\n\nJosé Luis Cortés is a native Philadelphian whose known for his artwork inspired by his time in New York City in the early 90’s.  Cortés’ very personal work reflects the underbelly of Gay life – documenting a life on the fringes of society:  of sex workers, addiction, and of a changing landscape.   He is an artist who, with his work, validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés’ work has been exhibited in galleries and museums across the country as well as in Europe. His work has been reviewed in <em>The New York Times</em>, <em>Art in America</em>, and <em>Out Magazine</em> and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>, and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.\n\nCortés is also a founding member of The Archive Project, and was included in the landmark exhibition<em>, The First Ten</em> (1995), which showcased the work of artists living with HIV. Currently he works with urban youth in Puerto Rico, teaching them about art, and how it can become a part of their daily lives. In 2013, Cortés participated in VIAL, an exhibition at the Museo de Arte de Puerto Rico (MAPR).  The exhibition in Taller Puertorriqueño will be his first in Philadelphia.\n\n&nbsp;\n\n<strong>Black and White, Gay and Boricua the Art of José Luis Cortés </strong>\n\nby Rafael Damast\n\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\n\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\n\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\n\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\n\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\n\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\n\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\n\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\n\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\n\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\n\nEssay by Rafael Damast','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-revision-v1','','','2015-06-02 16:00:26','2015-06-02 20:00:26','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\r\n<h4 style=\"text-align: center;\">José Luis Cortés</h4>\r\n<h3 style=\"text-align: center;\">EN BLANCO Y NEGRO</h3>\r\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\r\n<p style=\"text-align: center;\"><strong>June 12 to July 25, 2015</strong></p>\r\n\r\n\r\n[caption id=\"attachment_3720\" align=\"alignleft\" width=\"150\"]<img class=\"wp-image-3720 size-thumbnail\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/En-Blanco-Headshot-150x150.jpg\" alt=\"José Luis Cortés photo by ADAL\" width=\"150\" height=\"150\" /> Photograph of<br /> José Luis Cortés<br /> ADÁL, 2014[/caption]\r\n\r\nJosé Luis Cortés is a native Philadelphian whose known for his artwork inspired by his time in New York City in the early 90’s.  Cortés’ very personal work reflects the underbelly of Gay life – documenting a life on the fringes of society:  of sex workers, addiction, and of a changing landscape.   He is an artist who, with his work, validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés’ work has been exhibited in galleries and museums across the country as well as in Europe. His work has been reviewed in <em>The New York Times</em>, <em>Art in America</em>, and <em>Out Magazine</em> and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>, and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.\r\n\r\nCortés is also a founding member of The Archive Project, and was included in the landmark exhibition<em>, The First Ten</em> (1995), which showcased the work of artists living with HIV. Currently he works with urban youth in Puerto Rico, teaching them about art, and how it can become a part of their daily lives. In 2013, Cortés participated in VIAL, an exhibition at the Museo de Arte de Puerto Rico (MAPR).  The exhibition in Taller Puertorriqueño will be his first in Philadelphia.\r\n\r\n&nbsp;\r\n\r\n<strong>Black and White, Gay and Boricua the Art of José Luis Cortés </strong>\r\n\r\nby Rafael Damast\r\n\r\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\r\n\r\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\r\n\r\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\r\n\r\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\r\n\r\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\r\n\r\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\r\n\r\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\r\n\r\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\r\n\r\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\r\n\r\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\r\n\r\nEssay by Rafael Damast',3703,'http://tallerpr.org/2015/06/02/3703-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (3722,2,'2015-06-02 16:03:59','2015-06-02 20:03:59','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\n\n<h4 style=\"text-align: center;\">José Luis Cortés</h4>\n\n<h3 style=\"text-align: center;\">EN BLANCO Y NEGRO</h3>\n\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\n\n<p style=\"text-align: center;\"><strong>June 12 to July 25, 2015</strong></p>\n\nAs part of citywide celebration of the 50<sup>th</sup> anniversary of the Reminder Day demonstrations, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present in June, <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés.\n\n[caption id=\"attachment_3720\" align=\"alignleft\" width=\"150\"]<img class=\"wp-image-3720 size-thumbnail\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/En-Blanco-Headshot-150x150.jpg\" alt=\"José Luis Cortés photo by ADAL\" width=\"150\" height=\"150\" /> Photograph of<br /> José Luis Cortés<br /> ADÁL, 2014[/caption]\n\nJosé Luis Cortés is a native Philadelphian whose known for his artwork inspired by his time in New York City in the early 90’s.  Cortés’ very personal work reflects the underbelly of Gay life – documenting a life on the fringes of society:  of sex workers, addiction, and of a changing landscape.   He is an artist who, with his work, validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés’ work has been exhibited in galleries and museums across the country as well as in Europe. His work has been reviewed in <em>The New York Times</em>, <em>Art in America</em>, and <em>Out Magazine</em> and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>, and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.\n\nCortés is also a founding member of The Archive Project, and was included in the landmark exhibition<em>, The First Ten</em> (1995), which showcased the work of artists living with HIV. Currently he works with urban youth in Puerto Rico, teaching them about art, and how it can become a part of their daily lives. In 2013, Cortés participated in VIAL, an exhibition at the Museo de Arte de Puerto Rico (MAPR).  The exhibition in Taller Puertorriqueño will be his first in Philadelphia.\n\nFollowing the exhibition, on June 20<sup>th</sup> at 3PM, there will be a panel discussion at Taller Puertorriqueño on gay and Latino issues led by the writer and AIDS activist, David Acosta.\n\nFor more information on the panel go to: <a href=\"http://tallerpr.org/event/gay-latino-panel-discussion\">http://tallerpr.org/event/gay-latino-panel-discussion</a>\n\n&nbsp;\n\n<strong>Black and White, Gay and Boricua the Art of José Luis Cortés </strong>\n\nby Rafael Damast\n\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\n\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\n\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\n\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\n\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\n\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\n\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\n\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\n\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\n\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\n\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\n\nFor more information on the 50th anniversary of the Reminder Day demonstrations go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\n\nThis exhibit and cycle are supported by grants from PECO and The Andy Warhol Foundation for the Visual Arts.\n\n<img class=\"aligncenter wp-image-2572 size-medium\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos-300x54.jpg\" alt=\"Peco and Andy Warhol Foundation for the Arts\" width=\"300\" height=\"54\" />','En Blanco Y Negro: Gay & Boricua','','inherit','closed','closed','','3703-revision-v1','','','2015-06-02 16:03:59','2015-06-02 20:03:59','<img class=\"aligncenter size-large wp-image-3715\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/The-Playpen-1024x394.png\" alt=\"The Playpen\" width=\"1024\" height=\"394\" />\r\n<h4 style=\"text-align: center;\">José Luis Cortés</h4>\r\n<h3 style=\"text-align: center;\">EN BLANCO Y NEGRO</h3>\r\n<h3 style=\"text-align: center;\">Gay &amp; Boricua</h3>\r\n<p style=\"text-align: center;\"><strong>June 12 to July 25, 2015</strong></p>\r\nAs part of citywide celebration of the 50<sup>th</sup> anniversary of the Reminder Day demonstrations, <a href=\"http://www.galaei.org/\">GALAEI </a>and Taller Puertorriqueño are pleased to present in June, <a href=\"http://tallerpr.org/event/en-blanco-y-negro-gay-boricua/\"><strong>En Blanco y Negro: Gay &amp; Boricua</strong></a>, an exhibition of the artwork of José Luis Cortés.\r\n\r\n[caption id=\"attachment_3720\" align=\"alignleft\" width=\"150\"]<img class=\"wp-image-3720 size-thumbnail\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/En-Blanco-Headshot-150x150.jpg\" alt=\"José Luis Cortés photo by ADAL\" width=\"150\" height=\"150\" /> Photograph of<br /> José Luis Cortés<br /> ADÁL, 2014[/caption]\r\n\r\nJosé Luis Cortés is a native Philadelphian whose known for his artwork inspired by his time in New York City in the early 90’s.  Cortés’ very personal work reflects the underbelly of Gay life – documenting a life on the fringes of society:  of sex workers, addiction, and of a changing landscape.   He is an artist who, with his work, validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés’ work has been exhibited in galleries and museums across the country as well as in Europe. His work has been reviewed in <em>The New York Times</em>, <em>Art in America</em>, and <em>Out Magazine</em> and many other publications. You can see more of his work at the <a href=\"http://www.visualaids.org/artists/detail/jose-luis-cortes\">Visual AIDS Online Registry</a>, and learn more about him at <a href=\"http://joselcortes.blogspot.com/\">joselcortes.blogspot.com</a>.\r\n\r\nCortés is also a founding member of The Archive Project, and was included in the landmark exhibition<em>, The First Ten</em> (1995), which showcased the work of artists living with HIV. Currently he works with urban youth in Puerto Rico, teaching them about art, and how it can become a part of their daily lives. In 2013, Cortés participated in VIAL, an exhibition at the Museo de Arte de Puerto Rico (MAPR).  The exhibition in Taller Puertorriqueño will be his first in Philadelphia.\r\n\r\nFollowing the exhibition, on June 20<sup>th</sup> at 3PM, there will be a panel discussion at Taller Puertorriqueño on gay and Latino issues led by the writer and AIDS activist, David Acosta.\r\n\r\nFor more information on the panel go to: <a href=\"http://tallerpr.org/event/gay-latino-panel-discussion\">http://tallerpr.org/event/gay-latino-panel-discussion</a>\r\n\r\n&nbsp;\r\n\r\n<strong>Black and White, Gay and Boricua the Art of José Luis Cortés </strong>\r\n\r\nby Rafael Damast\r\n\r\nThe process of creating art for José Luis Cortés is very personal.  It combines his experiences, his memories and his state of mind, and it is a manifestation of his passions, his hopes, and his fears. It is the means that validates his world and voices his identity as both a gay man and as a Puerto Rican.\r\n\r\nCortés is not a political artist or activist, but he does acknowledge that his tastes tend toward the provocative: to a place of rough sex, sex workers, and drugs.   His work is filled with pain but also with beauty, pleasure and love.  In his curatorial essay for his online VisualAIDS exhibition, “It Feels Like Love But It’s the Drugs”, he starts with the admission that his sexual awakening came at fifteen - and with that the recognition of a new identity as a gay man.\r\n\r\nCortés was born in Philadelphia to Puerto-Rican parents.  His father, an avid newspaper reader, instilled in him his love for papers, and in New York City he fell in love with The New York Times – the Grey Lady.  He appreciated the paper not only for its power to convey information, but also its structure, the layout and juxtaposition of ads, and its history and presence.  For Cortés, the columns and the grids of that newspaper, with its photos and headlines, were the beginning of a dialogue; a dialogue he recorded in paint.\r\n\r\nIn the pages of The New York Times, he saw his life mirrored, his career, his loves, and the places he frequented. In his work, he shows us plainly and honestly his desires and frailties, with inside jokes about gay identity and addiction (see the work Crystal Favors with double entendres as an example - “put yourself in a better position”).  With paint, masking and highlighting, he guides the viewer’s eyes.\r\n\r\n[caption id=\"attachment_3706\" align=\"alignleft\" width=\"178\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros.jpg\"><img class=\"wp-image-3706\" src=\"http://tallerpr.org/wp-content/uploads/2015/06/Stairway-to-Eros-257x300.jpg\" alt=\"José Luis Cortés, Stairway to Eros (1996)\" width=\"178\" height=\"208\" /></a> José Luis Cortés,<br /> \"Stairway to Eros\" (1996), Gouache on newsprint[/caption]\r\n\r\nIn his 1996 work Stairway to <em>Eros</em>, he depicts, in stark black and white, the stairwell that led to the stage of that famous gay club.  On the side of the paper reads the headline \"Exquisite Beauty\"; below is a scenic image of a beautiful bay and sea town. He knows he is far from that place, and he contrasts this in thick brushstrokes depicting the stairwell. The space is shown as confining, absorbing, and filled with expectant tension. You may ask yourself if this is the point where you enter the stage, become the center of attention – the great “exquisite beauty”.  The answer may not be clear to you, but the tension, and, dare I say, excitement is there - emotions that he must have felt when he worked there as a young man.\r\n\r\nFor Cortés, his arrival in New York City in the 1990s was liberating.  He found work where his looks and body were appreciated, and to him this was akin to finding a rare drug.  He was intoxicated by it. In the flashing ads and billboards of the city, he read the subliminal messages calling for hedonistic pleasures.  It came to him plainly and clearly as black type on newsprint.\r\n\r\nIn his work <em>Self Portrait with G-string Full of Money</em> (1996), he bluntly presents to us the image of his groin\r\n\r\n[caption id=\"attachment_3708\" align=\"alignright\" width=\"211\"]<a href=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17.jpg\"><img class=\"wp-image-3708 \" src=\"http://tallerpr.org/wp-content/uploads/2015/06/unnamed-17-300x244.jpg\" alt=\"&quot;Self Portrait with G-string Full of Money&quot; (1996)\" width=\"211\" height=\"172\" /></a> José Luis Cortés,<br /> \"Self Portrait with G-string Full of Money\" (1996), Gouache on newsprint[/caption]\r\n\r\nin underwear stuffed with dollar bills. In the margins of the paper reads \"Liberty Travel\", and through these play on words, he shows us what supported him and gave him freedom. This was in the time of Mayor Rudolph Giuliani’s New York City, when the gay clubs were closing and Disney was moving into Times Square.  Cortés’ friends were dying from AIDS, and the city with which he fell in love was beginning to feel like it was leaving him behind.  He also saw the effects of crystal meth take a stranglehold on him and his friends.  He recognized then that there was a cost for desire.\r\n\r\nIn José Luis Cortés’ art, we see his love for architecture and place.  In the portraits he created of his friends, family and strangers, we see the important connections he has made.  Throughout his work, he has been honest about his sexuality.  In his newspaper series, and later in his performance and video work, he asks us to engage fully in who he is without judgment or regret.  In doing so, he starts a conversation with the public about identity and acceptance that is base, raw and framed by urgency.\r\n\r\nFor more information on the 50th anniversary of the Reminder Day demonstrations go to <a href=\"http://waygay.org/reminder2015\">http://waygay.org/reminder2015</a>.\r\n\r\nThis exhibit and cycle are supported by grants from PECO and The Andy Warhol Foundation for the Visual Arts.\r\n\r\n<img class=\"aligncenter wp-image-2572 size-medium\" src=\"http://tallerpr.org/wp-content/uploads/2014/12/Andy-Peco-Logos-300x54.jpg\" alt=\"Peco and Andy Warhol Foundation for the Arts\" width=\"300\" height=\"54\" />',3703,'http://tallerpr.org/2015/06/02/3703-revision-v1/',0,'revision','',0);
