new-york

Anthony Hernandez

Carter Burden Gallery

In his newest work, Anthony Hernandez reconciles photojournalism and so-called street photography, the genre of art photography that since emerging in the ’30s has numbered among its practitioners Henri Cartier-Bresson, Robert Frank, and Garry Winogrand. By choosing to photograph Beverly Hills’ Rodeo Drive, Hernandez is able both to document an extreme manifestation of consumer culture, and to find scenes whose significance seems more personal. This juncture of different photographic genres—photojournalism’s implicit attempt at objectivity combined with street photography’s diaristic, interpretive quality—is successful largely because Rodeo Drive, with its expensive stores and flamboyant shoppers, is so inherently theatrical. In Hemandez’s version, Rodeo Drive itself comes across as a kind of store window, with the people who stroll its sidewalks as carefully packaged and as much on display

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