“To me photography is a means, perhaps the best means of our age – of widening knowledge of our world. Photography is a method of education, for acquainting people of all ages and conditions with the truth about life today,” wrote photographer Berenice Abbott, in an unpublished text from 1946, Statement in Regard to Photography Today. Berenice Abbott: Portraits of Modernity will run at the Fundación MAPFRE in Barcelona till 19 May 2019. Following its showing in Barcelona, the exhibition will go on display at the Fundación MAPFRE’s Sala Recoletos in Madrid from 01 June till 23 August.
As of 2019, Nadia Arroyo will be the new cultural director at Fundación MAPFRE in Madrid. She will be replacing Pablo Jiménez Burillo, who announced at a press meeting last week that he would be retiring after 30 years and over 500 curated exhibitions at the museum.
Jiménez was the first to bring a permanent exhibition space for photography to the museum, and championed the once-undervalued world of nineteenth century Spanish painting, bringing the gallery to the forefront of the art world in Spain. Arroyo is currently Head of Exhibitions at the Fundación MAPFRE.
Bruce Davidson has won a Lifetime Achievement prize in this year’s ICP Infinity Awards, which will be formally presented on 09 April. Best-known for his two-year project on the poverty-stricken residents of East 100th Street, Davidson joined Magnum Photos in 1958 and showed his work at the Museum of Modern Art in 1963. His work often documents social inequality, and includes iconic series such as The Dwarf, Brooklyn Gang, and Freedom Rides.
Elliot Erwitt was just 22 years old when he was commissioned to shoot Pittsburgh, Pennsylvania by the legendary Roy Stryker in 1950. Stryker had won fame and lasting respect for his work with the Farm Security Administration in the 1930s, commissioning photographers such as Dorothea Lange and Walker Evans to shoot America’s rural heartland at the height of the Depression; by 1950 he was working with a new organisation, the Pittsburgh Photographic Library, charged with shooting the formerly industrial, notoriously polluted city as it transformed into a modern metropolis. Stryker had met Erwitt when the youngster was still studying in New York, and had commissioned him to work on a Standard Oil project alongside photographers such as Berenice Abbott, Gordon Parks and Russell Lee. The young image-maker must have impressed him because, when invited to document Pittsburgh by the Allegheny Conference on Community Development, Stryker commissioned Erwitt and – unusually for him – gave him free reign to shoot what he liked. Erwitt shot on the project for a year, until he was drafted into …
If you type “Paul Outerbridge” into a Google image search it doesn’t take long before work by other photographers turns up – images by contemporaries, such as Edward Weston, but also by successive generations of photographers who’ve been inspired by his work. The feminist Jo Ann Callis explicitly referenced Outerbridge’s nudes in her 1970s work, for example; in contemporary photography, the new wave of still life photography championed by image-makers such as Bobby Doherty and Grant Cornett references his work, especially his lurid use of colour. Outerbridge’s striking photography comes in and out of fashion, as it did in his own lifetime, but, nearly 100 years on, somehow still retains a contemporary edge.