A Retrospective of Photographer Corky Lee's Work Documenting Asian American and Pacific Islander Communities

Summary

All Of It (WNYC) – April 10, 2024

Episode: A Retrospective of Photographer Corky Lee's Work Documenting Asian American and Pacific Islander Communities
Host: Khusha Navadar (in for Alison Stewart)
Guest: May Nye, Professor, Columbia University, Co-editor of Corky Lee’s Asian America: 50 Years of Photographic Justice

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Episode Overview

This episode of All Of It is a moving tribute and deep dive into the life, work, and enduring legacy of Corky Lee, a legendary photographer and activist renowned for his half-century documentation of Asian American and Pacific Islander (AAPI) communities. Host Khusha Navadar interviews May Nye, a longtime friend of Lee and co-editor of his definitive photo collection, about Lee’s pivotal role in archiving social movements, everyday life, and community transformations within New York and beyond from the 1970s through the 2020s.

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Key Discussion Points & Insights

1. Corky Lee’s Place in New York’s Social Movements & Community (02:14–06:16)

• Activist Roots: Corky and May Nye were both active in the emerging Asian American movement in 1970s Chinatown, considered “young radicals...making good trouble all over Chinatown” (May Nye, 04:36).
• Corky's Ubiquity: Lee attended and photographed virtually every significant AAPI event for five decades, becoming “a fixture” whose “commitment...was really extraordinary” (May Nye, 04:56).
• Unpaid Labor of Love: Lee's tireless documentation wasn't a paid profession; he often covered multiple events per day after his regular job, especially during APA Heritage Month (May Nye, 06:01).

2. The Genesis and Structure of the Book (06:16–08:38)

• How the Book Came About: An Asian American editor at Penguin Random House catalyzed the project by contacting Lee’s brother, highlighting the importance of diversity in publishing (May Nye, 06:33).
• Selection of Photos: The book began with 100 images curated by Lee in 2011, then added selections from exhibitions, community collaborations, and never-before-seen archival shots—aiming to “stay true to what Corky thought should have been in his book” (May Nye, 07:56).
• Supplementary Essays: Contributions from friends and colleagues offer personal memories and broader social context.

3. Family Influence and Historical Context (08:38–12:03)

• Immigrant Heritage: Lee was the son of a WWII veteran and hand laundryman in Queens, himself a “paper son” who circumvented the Chinese Exclusion laws (May Nye, 09:47).
• Unique Generational Position: Lee and his brothers were born at the “hinge in history” at the tail end of Chinese exclusion and witnessed sweeping transformations post-1965 immigration reform, embodying both observer and participant roles (May Nye, 11:22).
• “ABC from NYC”: Both Lee and Nye identified as American-born Chinese from New York City, situating their perspective within a specific generational and locational identity (May Nye, 11:43).

4. Balancing Activism and Documentation (12:03–13:05)

• Behind the Lens, Within the Movement: Lee’s “half a step back” positioning as a photographer enabled him both to participate and remain above factional disputes, maintaining an “ecumenical view of the movement” (May Nye, 12:42).

5. Early Activism and Use of Photography (13:05–15:09)

• Beginnings in Chinatown (Late 1960s–Early 1970s):
  • Drafted as a conscientious objector during the Vietnam War, Lee worked at a local social service organization and initially borrowed a camera to document poor living conditions in tenements (May Nye, 13:23).
  • Involvement with the Asian Media Collective and Basement Workshop fostered his early photo documentation and educational slide presentations for schools and community groups.

6. Evolution of Focus and Community Coverage (15:09–17:17)

• From Neighborhood Fairs to Pan-Ethnic Tapestry:
  • Lee not only organized and photographed health fairs and street festivals but also chronicled everyday street life, capturing profound demographic transformation in Chinatown.
  • He documented events across the Asian diaspora, such as Japanese American Days of Remembrance, Philippine Independence Day, and more, illustrating the demographic “explosion of ethnic diversity” post-1965 (May Nye, 17:36).

7. Expanding Definition of Asian America (17:17–18:24)

• Changing AAPI Demographics: Immigration reform prompted increased migration, expanding the scope of Lee’s work to include a diversity of Asian groups in America (May Nye, 17:36).

8. Iconic Images and Moments (18:24–20:03)

• After 9/11: Lee sensitively captured the impact of racist backlash on Sikh and Muslim communities, Chinatown’s economic devastation, and moments of patriotic affirmation (e.g., images of Sikh Americans draped in US flags) (May Nye, 18:24, 19:26).
  • Quote: “Corky loved to photograph Asian Americans with American flags...he liked to show that Asian Americans had an Asian identity and an American identity. And Corky himself believed that he was a patriot.” (May Nye, 19:26)

9. Documenting the Pandemic and Rising Anti-Asian Hate (20:03–22:02)

• Chinatown during COVID-19:
  • Lee chronicled the emptiness of shuttered streets and restaurants, small moments of resilience (e.g., street vendors, community patrols), and resistance against rising anti-Asian violence.
  • Memorable Photo: Series of people posed in front of their favorite shuttered restaurants, conveying “how the community was struggling” (May Nye, 20:24–21:54).

10. Personal Impact & Lasting Legacy (22:02–24:17)

• Favorite Images: Nye’s personal favorites are Lee’s 1970s snapshots of “ordinary people...living their lives,” reflecting Lee’s aim: “I want to show Chinatown as a real place with real people, not a tourist drive-by. Real people with real concerns.” (May Nye, 22:15)
• Historical Narrative: The book’s chronological arc provides a “visual narrative of the Asian American movement from 1970–2020,” and “that’s something that I hope this book can contribute... not only for people to enjoy and think about these pictures, but also think about the broad history that they represent.” (May Nye, 23:00–24:17)

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Notable Quotes & Memorable Moments

• On Commitment:
  “He did this out of love. And sometimes... he would photograph two or three events a day after he got off work.”
  — May Nye (05:52)

• On Diversity in Publishing:
  “This is why diversity in publishing is important, because she knew who Corky was.”
  — May Nye (06:40)

• On Community Organizing:
  “There’s probably three people on the planet who know how to close [off] Mott Street. Corky knew how to do that.”
  — May Nye (15:41)

• On Patriotism:
  “He liked to show that Asian Americans had an Asian identity and an American identity. And Corky himself believed that he was a patriot.”
  — May Nye (19:26)

• On Representation:
  “I want to show Chinatown as a real place with real people—not a tourist drive by. Real people with real concerns.”
  — May Nye, quoting Corky Lee (22:38)

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Key Timestamps

• [02:14] – Introduction to Corky Lee’s legacy and book
• [04:36] – May Nye describes Corky as an activist and fixture in NYC’s AAPI community
• [06:33] – The impetus and process for compiling Lee’s photo collection
• [09:47] – Lee’s family background and historical context
• [13:23] – Lee’s early activism and first use of photography in Chinatown
• [17:36] – Changing demographics and pan-Asian coverage
• [18:24] – Impact of 9/11 and Lee’s patriotic imagery
• [20:24] – Lee’s pandemic-era photography in Chinatown
• [22:15] – Nye reflects on her favorite Lee images and his documentary ethos
• [23:00–24:17] – On the book’s historical narrative and lasting contribution

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Episode Tone

The conversation is warm, deeply informed, and reverential, blending personal anecdotes with historical analysis. May Nye’s tone is reflective, passionate, and thoughtful—echoing Corky Lee’s own commitment and sense of purpose as both an insider and observer of Asian American history.

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Summary

This episode is essential listening for anyone interested in the intersections of activism, art, and community chronicle. It provides both a celebration of Corky Lee’s immeasurable contributions and a critical reminder of the stories—not just the headlines, but the everyday lived experiences—that shape and sustain New York’s (and America’s) cultural fabric.

Transcript

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[May Nye]

Listener support WNYC Studios.

[Khusha Navadar]

This is all of it from wnyc. I'm Khusha Navadar in for Alison Stewart, who's on medical leave. Corky Lee was a beloved photographer and activist who used a camera to document the lives and the movements of people in the Asian American and Pacific Islander community. A new collection captures Corky Lee's pursuits that spanned 50 years half a century. The book is titled Corky Lee's Asian 50 Years of Photographic Justice. The book features some of his best known images, but also pictures we've never seen before. They all reflect the rich history of Social movements like protests against police brutality in New York in the 1970s, a ping pong fundraiser at a health fair, and an image that Corky captured of a man from the Sikh faith draped in an American flag after 9 11. We're joined now by one of the book's co editors, May Nye. She is the Lung family professor of Asian American Studies and professor of history and co director of the center for the Study of Ethnicity and Race at Columbia University. May, welcome to all of it.

[May Nye]

Thank you. It's great to be here.

[Khusha Navadar]

Great to have you and listeners. We would love to hear from you too. Do you identify as part of the AAPI community or has Corky Lee's work impacted you? Or have you ever met Corky Lee personally? Or do you have a connection to our city's Chinatown, where Corky Lee was a community organizer? How do you feel? Chinatown has changed over the years. Give us a call, send us a text. The number is 212-433-969. That's 212-433-WNYC. So May, reading the book, looking at the pictures, I feel like I got such a beautiful portrait of a person who was at the fabric of New York City and at many social movements. You have a particularly important perch in this because you've known Corky Lee since the 1970s as activists from Chinatown. Right. So can you help us understand who Corky was as a person and why his work was so important?

[May Nye]

Yeah, as you said, Corky and I were part of the emerging Asian American movement in the 1970s in New York's Chinatown. You know, we were part of the young radicals that were making trouble, making good trouble all over. All over Chinatown. And. And then over the years, you know, Corky photographed virtually every event in the New York City area, not just in Chinatown, but in the metro area, and also Japanese Americans, Filipino Americans, et cetera, et cetera. And then, you know, in 2019, when I was director of the ethnic studies program at Columbia, I invited him up to do an exhibit in our gallery. And he came and we talked about it and he measured the walls and everything. And then, you know, it got delayed getting started, and then Covid hit and we never were able to complete that project. So I feel very sad about that. But having known Corky for all those years and having seen him at virtually every event in New York, he was at every event. I wasn't at every event myself, but he was a fixture there. And I think he came to the commitment that he was going to document our community and Our struggles. And he did that doggedly and with love for 50 years, 50 continuous years. And I don't know if you can say that about anybody else. It's really an extraordinary commitment that he had. And I should say it wasn't a paid job. He did this out of love. And sometimes, especially during the spring when we had Asian Pacific American Heritage Month, he would do. He would photograph two or three events a day after he got off work.

[Khusha Navadar]

Wow, there are so many photographs in this collection. Corky Lee passed a little over three years ago in January of 2021. Tell me, what was the impetus for this collection and how did you organize the photographs in it?

[May Nye]

That's a great question. The impetus came when an Asian American editor at Penguin Random House approached Corky's brother, his sole surviving relative, and said, I want to do a book. And this, you know, this is just parenthetically, I will say this is why diversity in publishing is important, because she knew who Corky was. And we did a little work, we made a proposal and we had a book deal within half a year. And then we set about to make the book. And I want to say that Corky always wanted to have a book of his photos. He had started to do that in 2011. He started to put together a collection and you know how things go. You know, it was going to be a self published book and it just never got finished. How we approached our book, which is really his book, was we started with those 100 photos that he himself had selected in 2011 for his own book. And then we have another 10 years to cover. So for that 10 years, we selected photos that Corky himself chose for exhibitions, for solo and group shows, and also photos that he lent to other creators, creative people who were making films or doing, you know, other projects. So these constituted a core of photos that really represented what Corky himself had chosen as representative of his work, one could say his best work. And then we added to that. You know, we rounded out some of the themes with other photos. We found stuff in the archives in metal slide boxes, stuff that's never been seen before. So there's some gems in the book. But basically we tried to stay true to what Corky thought should have been in his book. And then we added some photos, but we also added essays, contributions from people who knew him, who could talk about him personally, but also could add broader social context.

[Khusha Navadar]

I'm so happy that you brought up the essays. I want to touch on that. And if you're just listening in, this is all of It. I'm Kushan Avadar. We're talking about the photographer, the activist New York, you know, fabric of New York's culture. Corky Lee, who was a photographer. And we're talking with May Nye, who is a co editor of Corky Lee's Asian 50 Years of Photographic Justice. May, you had mentioned that some of the things that you. You added to this collection were essays. And the book includes an essay of John J. Lee, who is Corky Lee's younger brother, who's a retired public defender in Southern California. In his essay, which is titled Young to be Praiseworthy of the Nation, he writes that Corey was a product of his times, but he was also more directly a product of his family. And, you know, Corky, like you mentioned, was at the very fabric of New York society. What did his brother mean by that and why is that context important for understanding Corky's work?

[May Nye]

I think John, Corky's brother and Corky himself were very devoted to their family, to their parents and their siblings. Corky's father was an immigrant. He was a hand laundryman in Jamaica, Queens. He had actually served in the U.S. army during World War II. So he's a veteran and he was a paper son, meaning somebody who came under a fake identity as a way to get around the Chinese exclusion laws. And then later, you know, they were able to recover their true identity in the 1950s. So Corky grew up in, you know, living in an apartment above a hand laundry. He and his brothers all worked in that laundry. Corky knew how to run it. By the time he was in junior high school, he went to Queens College when there were very few Asian students there. And he started a Chinese American Students club and he majored in history. And so I think what. What I think is important, and I think what John is trying to get at in his essay was that Corky and his brothers, they were part of a generation that was born at the tail end of the Chinese exclusion era, right, which ran from 1882 to 1943. They were born at the tail end of that during the Cold War. And then they witnessed the vast changes in Chinese and Asian America that took place after 1965 with the reform of the immigration laws. So I consider that a really unique perspective, sitting at what you could call a hinge in history, right. A turning point. And Corky was both an observer, but also a participant in that change. So I think he, in that way, he represents a whole generation of Asian Americans who grew up in that period. I'm from that same Generation. I'm also what Corky calls an ABC from nyc. American born Chinese from New York City.

[Khusha Navadar]

Sorry I stepped on you a little bit. Yeah. An American born Chinese in New York City is the ABC there, which is lovely. You had mentioned that Corky was both a participant and an observer of these social movements. How do you think he balanced those two?

[May Nye]

Corky was known to be a great storyteller and a garrulous fellow, but I think he was also a very private person. And taking a position behind the camera, I believe, enabled him to be part of the action without being necessarily a direct participant in the action. So he was always there, he was part of it. But he also had half a step back. And I think that suited his personality. And it also enabled him to stay above the fray. Because the Asian American movement, I don't think anybody will be too surprised about this, but, you know, there are a lot of different points of view, and there were conflicts and differences. And Corky was ecumenical. He photographed everybody and everything. And I think being the photojournalist and the photo documentarian enabled him to take that ecumenical view of the movement and capture all of it.

[Khusha Navadar]

And a lot of it happened in Chinatown. In the intro of the book, it states that Corky knew and loved Chinatown deeply, calling it a part of my soul. What were some early forms of the activism that you're mentioning that Corky started to take part in in Chinatown?

[May Nye]

Corky first went to Chinatown in 1969 after he graduated from China College. And he became draft eligible at that point. And he declared himself a conscientious objector because he opposed the war in Vietnam. And he was granted that status by the draft board. So they assigned him to work as part of the VISTA program, which was, you know, your kind of community service program. And he was assigned to work at Two Bridges Neighborhood Council, which was a social service agency. And he worked as a tenant organizer. And he would go into the tenements and talk to the people and document all the dilapidated conditions and take pictures of them. And he borrowed a camera for a friend from a friend to take pictures. So that was both how was active, how he first started using the camera. And then he joined a group called the Asian Media Collective, which became the Basement Workshop, which is what we all know is a big cultural and arts center in the early Asian American movement. And Corky at first was interested in taking slides. He took slides because he made slideshows, and he used these to show to schools, school students, to community groups. And so he, from a very early Time saw photography as a way to educate and organize people.

[Khusha Navadar]

You know, 50 years is a long time to document a community. How did his activism start and then how did it evolve over time? Did it broaden to more groups? Did it narrow in on specific causes? Talk to us about that a little bit.

[May Nye]

I would say both focused and narrowed and broadened. He did both. Some of the first events that Corky organized and photographed was the New York Chinatown Health Fair, this famous street fair in the summer of 1970. He had previously organized a streetcar race down Mott street with a bunch of other young activists and social service organizers. So he knew how to close Mott Street. He knew how to. Who do you go to in the city to get Mott street closed? I would say there's probably three people on the planet who know how to do that. Corky knew how to do that. And so he helped build the booths for the street fair. He got Mott street clothes, he got everybody else involved, and then he also photographed it. So he was really an outgoing person who knew how to work with other people, how to bring them in, how to organize them. And he also liked to photograph Chinatown's everyday life. It's street life, scenes of kids, you know, the old timers, the old sojourners. And he captured Chinatown at a time in the 1970s when it was beginning to transform, when the old so called bachelor society was being added to with new immigrants, with families. So he captured that whole transformation. And over time, he captured how Chinatown evolved into a really diverse community. And he was always interested in other Asian American groups. He photographed the Japanese American Days of Remembrance that took place every year, memorializing the internment in the concentration camps during World War II. He made a point of going to all the Asian ethnic holiday parades, you know, Philippine Independence Day Parade, India Day Parade, Sikh Parade, Koreans. He photographed all of those. So you get a really interesting portrait of the ethnic diversity that grows in the 1990s and the 2000s.

[Khusha Navadar]

Yeah, that is something that I found quite interesting in the book, was that as it evolves, you can see, you know, Asian American expanding into Asian American Pacific Islander. And in the 80s and 90s, Corky Lee started covering more of these events. What caused the makeup of the AAPI population to change in the United States at that point?

[May Nye]

Well, after the immigration laws were reformed in 1965, starting in 1970, really many more Asian groups emigrated to the United States. So there had been smaller communities of Filipinos and Indians before this time. But what you see in the 80s and going forward is A real demographic explosion of ethnic diversity among Asian Americans. So Corky was very aware of that, and he captured all of that with his camera.

[Khusha Navadar]

Was there if. If you could point. And, you know, 50 years is such a long time, but after the. The 80s and 90s, is there a specific moment, handful of moments that you could point to, where Corky's presence and photography really made a difference in capturing the zeitgeist of the time?

[May Nye]

911 was a big turning point, I think, because Asian Americans, and especially those Asian Americans who looked like they were Arab or Muslim, came under racist attack. And Corky felt very deeply about that. And he took photographs of Chinatown, which was devastated by the 911 attacks. Right. It was economically devastated. But he also took pictures of other communities. And one of his most famous pictures is of a candlelight vigil that was organized by Sikh Americans in Central park the Saturday after 9 11. And one of his iconic photos is. In that picture is a Sikh man with an American flag draped around his shoulders, which was to signal that they were Americans, they were not terrorists. And if I may say, Corky. Corky loved to photograph Asian Americans with American flags. He took hundreds of these photos, and he often liked to take photos that juxtaposed ethnic Asian Americans in ethnic costume, especially at their, you know, parades and festivals, but also carrying American flags, whether they were flags or stickers or umbrellas, you know, he liked to show that Asian Americans had an Asian identity and an American identity. And Corky himself believed that he was a patriot.

[Khusha Navadar]

Yeah. And reframing what patriot looks like, it sounds like you're saying through his photographs.

[May Nye]

Exactly.

[Khusha Navadar]

Yeah. Let's go to the end of his life. So there's this December 2020 photograph of Joanne Kwong with lanterns made by volunteers to string across Mott street, which you had mentioned before, to light up Chinatown. What kind of moments did Corky Lee capture among Chinatown's residents towards the end of his life?

[May Nye]

Well, the first year of the pandemic, you know, 2020, Chinatown was really shut down, and. And then you had a rise of anti Asian hate. And so Corky documented all of that. He always wore a mask when he went to Chinatown. Of course, he couldn't travel to other places, you know, but he could take the subway to Chinatown. And his photographs are really touching from this period. At one level, he shows the. The economic devastation of Chinatown. There's a photo of Doyer street completely shut down. Every shop, every restaurant has their gate down. He also wanted to show that Chinese people were victims and not the cause of the virus. So his photographs of a woman selling hand sanitizer on Canal street in the middle of the winter, or a man selling zhongzi, you know, grab and go foods from a little luncheonette in Chinatown. And he had people pose in front of their favorite restaurants that were shuttered. So there's a whole series of photographs of people posing in front of restaurants. And then of course, he photographed demonstrations against anti Asian violence. And he photographed a community street patrol who going around talking to grocers and handing them leaflets about how to practice social distancing and masking in their shops. So he really tried to show how the community was struggling with and grappling with this ordeal.

[Khusha Navadar]

Is there a picture? I'm sure there are many. But can you touch on one picture maybe of all of Corky's photographs that continues to leave a lasting impression on you?

[May Nye]

Well, that's kind of an unfair question. Goosh.

[Khusha Navadar]

But I'm sorry.

[May Nye]

I have to say I'm partial myself to the photographs he took of chinatown in the 1970s. Photographs of ordinary people crossing the street, getting their groceries, living their lives. And Corky would say, you know, I want to show Chinatown as a real place with real people, not a tourist drive by real people with real concerns. And that is. That's what really stays with me. And I think what he also carried throughout his whole 50 year long career.

[Khusha Navadar]

And does that ethos influence you in your own career at all, in the work that you do today, that memory of Corky?

[May Nye]

Well, I'm a historian. I'm a historian of immigration to the United States and of Asian American history. And I think what this book does, it. It's a visual narrative of the Asian American movement from 1970 to 2020. And that is from its earliest days. I mean, it's not the beginning, it's not the only Asian American movement, but our contemporary one, right? I mean, Chinese and other Asians were fighting for social justice since they stepped foot on American soil. But in terms of our contemporary movement, and we can trace back a couple generations to the 1970s, I think this book is really a remarkable narrative. And if you put, you know, we put Corky's photos together in chronological order and you know, a lot of people know Corky's photographs from the Internet because they're ubiquitous and you can see all kinds of photos from different times and places. But when you put them together in chronological order with some sense of the themes, you have a historical arc. And that's something that I hope this book can contribute is not only for people to enjoy and think about these pictures, but also think about the broad history that it represents.

[Khusha Navadar]

Yeah, and Corky was a big part of that history over 50 years and even more of just being a part of American society. You've described some beautiful pictures. I appreciate you being game for that. One question about which picture stands out to you listeners. If you'd like to see that picture and more, you can check out Corky Lee's Asian 50 Years of Photographic Justice. We've been talking to one of the co editors of the book, May Nye, who's a professor of Asian American Studies and professor of History and co Director of the center for the Study of Ethnicity and Race at Columbia University. May, thank you so much for this work.

[May Nye]

Thank you.

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