Anthony Hernandez illustrates society’s class and racial divides throughout his photographic career. Beginning in the 1970’s in Los Angeles, Hernandez focused primarily on spontaneous portraits. In Rodeo Drive, Hernandez’s portraits show the wealth and excess of the upper class. As his work developed, he focused less on people and more on urban details and landscapes, further critiquing the peculiarities and inequalities of large cities. “Projects such as Landscapes for the Homeless (1988-91), Waiting for Los Angeles (1996-98), and Everything (The Los Angeles River Basin) (2003-4) documented how the city's human presence has been reduced to the traces and debris left by destructive social forces,” Getty Museum.
text by Anna Capurso