“People always ask me why I stopped photographing people,” says Anthony Hernandez, who in the mid-1980s, moved away from the black-and-white street photographs that had made his name. He was 17 years into his career and an artist in residence at the University of Nevada, Las Vegas, when he made the shift; initially thinking to photograph the infamous strip, he ended up travelling into the desert and making pictures of the left-over target shooter debris for what was to become a pivotal project, Shooting Sites. What Hernandez didn’t realise till many years later was that this shift was unconsciously connected to what he calls his first ever “photographic gesture” at 17 years old. It was an image, which is now sadly lost, of an empty lot strewn with rusting car parts and overgrown weeds. “You might say that the 35mm street photographs were the start of my career. Yes, I did do those, but the real beginning was that empty lot,” he says. “Why I was attracted to that, I don’t know.” Hernandez was born in Los …
BJP-online Loves the new Russian photography on FotoDepartament’s Attention Hub, the RPS’ list of 100 photographic heroines, Claudio Majorana’s Head of the Lion, John Myers’ Looking at the Overlooked, Feast for the Eyes – The Story of Food in Photography on show at FOAM, Jamie Hawkesworth’s a blue painted fence, and La Vertigine by Federico Clavarino
“It was a moment where I could step out of my ordinary and rather boring existence, and shape it into something different,” says Federico Clavarino, who’s photographs from his foundational years at Blank Paper in Madrid are now published as a book
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.
It’s little more than a decade since Ricardo Cases took his first tentative steps into the world with his personal work, exhibiting as part of New Spanish Photography at Lodz Fotofestiwal in 2007, a group show that travelled on to China and Slovakia. More than a dozen solo shows followed across Spain over the next three years before his international breakthrough with the book Paloma al aire [Pigeons in flight], published by Dewi Lewis in 2011. Ostensibly, the book follows pigeon-fanciers in Valencia and Murcia going about a local racing ritual, painting male birds for a competition in which the winner is the cock that attracts the hen. But with its distinctive spiral-bound, notebook appearance, and Cases’ tight framing, emphasising the surreality of the chase, it acquired a cult following, marking the arrival of a singular talent. The unconventional traits to this and his subsequent works are clearly evident in his first major survey exhibition, on show in Madrid from 13 June to 22 July at the spectacular Sala Canal Isabel II, as part of this year’s Photo España.
Born in 1908, Minor White lived at a time when being openly gay was risky. He remained in the closet for much of his life, fearful of losing his teaching positions at institutions such as the California School of Fine Arts, Rochester Institute of Technology and Massachusetts Institute of Technology – a factor which helped shape his aesthetic vision, argues an exhibition of his work currently on show in Madrid, “employing close-ups and cropping to express what couldn’t be shown”.
Blank Paper: Histoires du présent immédiat [Stories of the Immediate Present], which features recent work by Julián Barón, Ricardo Cases, Federico Clavarino, David Hornillos, Alejandro Marote, Óscar Monzón, Bernardita Morello, Miren Pastor, Michele Tagliaferri, Fosi Vegue and Antonio M. Xoubanova, opened this week at the offbeat Ground Control space in Arles. Images from the six-member collective are intertwined with those from teachers and alumni from the eponymous school
“The project started in 2007 when the economic crisis started in Spain,” says Bree Zucker about Girlfriend, her project on the apocalyptic partying of a group of young recession-battered Spanish lesbians. “The project follows one group of women, this lost generation. They call them the ‘nini’ generation in Spain; ‘ni estudia, ni trabaja’ (not studying, not working). My specific interest is one circle of women, but in the larger context it’s about this lost generation of young women.” At a time when 26 per cent of the Spanish population was unemployed and 56 per cent of those under 24 without a job, this lost generation represented a ticking time bomb of frustration, boredom and anger for Spain. Many young Spaniards have emigrated to other European countries to escape the lack of opportunity. But for those without the skills, training or linguistic ability, there was another solution; to stay in Spain and party like there’s no tomorrow. This was the side of Spain that Zucker focused on after attaching herself to a charismatic young woman called Boli. “I met Boli …