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Sculpting Reality
Anthony Hernandez. Rodeo Drive, 1984

Sculpting Reality

PHotoEspaña 2022

Manuel Álvarez Bravo » Harry Callahan » Walker Evans » Louis Faurer » Robert Frank » Lee Friedlander » Anthony Hernandez » Helen Levitt » Mike Mandel » Tod Papageorge » Garry Winogrand »

Exhibition: 1 Jun – 3 Sep 2022

Casa de América

Marqués del Duero, 2
28014 Madrid

+34 91-5954800


Mon-Fri 11-19:30 . Sat 11-15

This exhibition, complementary to the selection of works and artists present at the Círculo de Bellas Artes, discovers, on the one hand, the origins of documentary-style photography in the hands of a group of artists considered to be the pioneers of this aesthetic category in the American context – Louis Faurer, Robert Frank or Helen Levitt – and its consolidation through publications such as Double Elephant Press – by the hand of artists such as Walker Evans, Manuel Álvarez Bravo, Garry Winogrand and Lee Friedlander. On the other hand, it presents another set of works as a reference to the entry of color into this genre from the 1960s onwards, with the work of photographers such as Anthony Hernandez, Tod Papageorge, Mike Mandel and Harry Callahan.

The Double Elephant Portfolio Series – Selected Photographs is key to understanding the beginning of documentary-style photography. Between 1973 and 1974, Lee Friedlander and Burt Wolf selected fifteen photographs by four authors who had been published in Double Elephant Press: Walker Evans, Manuel Álvaro Bravo, Garry Winogrand and Friedlander himself – given that documentary photography was understood in relation to reporting or photojournalism and, consequently, it was regularly shown in newspapers and magazines –. The authors of the portfolio reflect the beginning of this documentary style and the influence that authors such as Evans came to exert on it, but also the need for some photographers – as is the case with Winogrand – to experiment with this language. In addition, this set is accompanied by other works by Friedlander - those popularly known as "The Little Screens" - and Winogrand - the series15 Big Shots – to contextualize the work of these artists.

In the series Rodeo Drive (1984), Anthony Hernandez presents a body of work of 41 photographs in which he portrays passers-by walking through the Beverly Hills shopping mall: it shows the complexity of urban spaces, the economic disparity and the division racial. As Lewis Baltz put it, "these are the victors... enjoying the spoils of their Rodeo Drive victory."