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Miguel Blázquez
Miguel Blázquez
Miguel Blázquez

Miguel Blázquez

Country: Spain
Birth: 2001

Miguel Bláquez was born in 2001 in Ávila, Spain. He is a prominent video artist with a strong academic background in the visual arts. He earned a Bachelor of Arts from the Escuela de Arte y Superior de Conservación y Restauración de Bienes Culturales de Ávila. Later, he pursued a Degree in Fine Arts at the Faculty of Fine Arts of the University of Salamanca.

During his time at university, Blázquez actively participated in projects such as the Audiovisual Art Exhibition by the 4th Year Fine Arts students at the Juan del Enzina Theater in Salamanca. His talent was recognized when he won the XXVII edition of the San Marcos Awards in the “Audiovisual” category, with his work exhibited at the Museum of Contemporary Art of Salamanca (DA2) in 2024. Additionally, his piece “El vídeo más grande del mundo” was showcased at the (S8) XV Mostra Internacional de Cinema Periférico in A Coruña. Another of his works, “Vídeo ensayo”, was exhibited at the Condeduque Contemporary Culture Center in Madrid in 2023.

Blázquez continues to establish himself as a talented video artist, constantly exploring and contributing to the world of art.

Statement
My photographic work often captures spectacular scenes that pay humble homage to the world around us. As a documentary artist, I prioritize exploring the depth and meaning within images over adhering to formal conventions. I am particularly drawn to both human and natural landscapes.

As a photographer and videographer, I believe in the power of visual storytelling to ignite conversations, challenge perspectives, and foster empathy. My work serves as an invitation to explore and connect with the world in meaningful ways.

My primary photographic influences include Tavepong Pratoomwong (Thailand), Victor Galeano (Colombia), Freddy Rodríguez Robles (Peru), Javier Arcenillas (Spain), Óscar Corral (Spain), Graciela Iturbide (Mexico), Leo Matiz Espinoza (Colombia), and Santiago Botero (Colombia).

ARTICLE

El cañón del Río Melcocho

Website

miguel-blazquez.com

 

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Fred Herzog devoted his artistic life to walking the streets of Vancouver as well as almost 40 countries with his Leica, photographing - mostly with color slide film - his observations of the street life with all its complexities. Herzog ultimately became celebrated internationally for his pioneering street photography, his understanding of the medium combined with, as he put it, "how you see and how you think" created the right moment to take a picture. Fred was born Ulrich Herzog in Stuttgart, Germany in 1930 and spent his childhood in Rottweil, Germany. He lost both of his parents during the war, and in 1946 Herzog went to work as an apprentice in his grandparents' hardware store. Disillusioned by the ravages of war and the situation in Germany, he emigrated to Canada in 1952 and settled in Vancouver in 1953. During the next several years. Herzog studied photography magazines while working aboard ships for the CPR steamship line, and in 1957 he was hired as a medical photographer at St. Paul's Hospital. In 1961, he became the head of the Photo/Cine Division in the Department of Biomedical Communications at UBC, and in 1970 was appointed Associate Director of the Department. Herzog was also hired as an Instructional Specialist in the Fine Arts Department at Simon Fraser University in 1967, and in 1969 became an instructor in the Fine Arts Department at UBC. Herzog had a walking route through Vancouver that enabled him to build friendships with other photographers and neighborhood residents and gave him an acute understanding of the daily life and soul of Vancouver. Over the course of several decades, Herzog produced a substantial body of color photographs, taking urban life, second-hand shops, vacant lots, neon signage, and the crowds of people who have populated city streets over the past years as his primary subjects. Herzog's use of color was unusual in the 1950s and 60s, a time when fine art photography was almost exclusively associated with black and white imagery. Additionally, Herzog photographed using Kodachrome slide film which was notoriously difficult to print. For decades he remained virtually unknown until his mid-seventies when printing technology caught up, allowing him to make archival pigment prints that matched the exceptional color and intensity of the Kodachrome film. A retrospective exhibition, Fred Herzog: Vancouver Photographs, was held at the Vancouver Art Gallery in 2007 and was the first major recognition of Herzog's body of work. Herzog exhibited his work both in Canada and internationally, including the exhibitions Fred Herzog: Photographs, C/O Berlin, Germany (2010), Fred Herzog: A Retrospective, Equinox Gallery, Vancouver (2012), Eyes Wide Open! 100 Years of Leica Photography, Haus der Photographie, Hamburg, Germany (2015), Photography in Canada, 1960-2000, National Gallery of Canada, Ottawa (2017), and many others. In 2010 Herzog received an Honorary Doctorate from Emily Carr University of Art and Design, and in 2014 he received the Audain Prize for Lifetime Achievement in the Visual Arts. An artist profile on Herzog was featured on the Knowledge Network for the series Snapshot: The Art of Photography II in 2011. In 2014, Herzog's photograph Bogner's Grocery (1960) was released as a limited edition stamp as part of Canada Post's Canadian Photography Series. Herzog died on September 9, 2019 at age 88.Source: Wikipedia
Takuma Nakahira
Takuma Nakahira
Japan
1938 | † 2015
Takuma Nakahira was a Japanese photographer, critic, and theorist. He was a member of the seminal photography collective Provoke, played a central role in developing the theorization of landscape discourse, and was one of the most prominent voices in 1970s Japanese photography. Born in Tokyo, Nakahira attended the Tokyo University of Foreign Studies, from which he graduated in 1963 with a degree in Spanish. After graduation, he began working as an editor at the art magazine Contemporary View (Gendai no me), during which time he published his work under the pseudonym of Akira Yuzuki. Two years later, he left the magazine in order to help organize the major 1968 exhibition One Hundred Years of Photography: The History of Japanese Photographic Expression at the invitation of Shōmei Tōmatsu, an effort to which photo critic Kōji Taki also contributed. In 1968, he and Taki teamed up with photographer Yutaka Takanashi, and critic Takahiko Okada, to found the magazine Provoke: Provocative documents for the sake of thought. By the second issue, Daidō Moriyama had joined the group, but Provoke ceased publication with its third issue, First discard the world of pseudo certainty: the thinking behind photography and language, in March 1970. Nakahira and the other Provoke members were well known for what was termed their "are, bure, boke" (rough, blurry, and out of focus) style, associated with spontaneity and thus supposedly a more direct confrontation with reality in that it would circumvent conscious control. While working on Provoke, Nakahira published his first photobook, For a Language to Come, which has been described as "a masterpiece of reductionism." Ryūichi Kaneko and Ivan Vartanian feature the book prominently in their book on seminal Japanese photobooks of the 1960s and 70s, and Martin Parr and Gerry Badger include it in the first volume of their international photobook history. Vartanian describes the volume as exemplary of Provoke's vision and concept of photography in Nakahira's use of the are, bure, boke style, but also for presenting full-bleed snapshots of anonymous corners of Tokyo that either cross over or abut each other at the book's gutter. Vartanian argues that "By erasing the conventional functionality of the photograph as document, memory, verification, emotion, and narrative, he revealed the illusory nature of photography as a conduit of information or portrayal of reality, while at the same time underscoring the only tangible reality available to the viewer—the printed image," eschewing documentation of social issues to instead present a personal, diaristic perspective. In 1977, at the age of 39, Nakahira suffered alcohol poisoning and fell into a coma. As a result of this trauma, he suffered permanent memory loss and aphasia, effectively ending his prolific writings. This event has also conventionally been understood as marking a change in his photographic practice since, after a hiatus from his image-making activities, he returned to the medium in a style quite distinct from that for which he was known. Curator and photo critic Kuraishi Shino and Masuda, however, argue that in spite of any stylistic differences with his earlier work, Nakahira's post-1977 practice should be understood as a conceptual continuation of the project he embarked on in 1973 with Why an Illustrated Botanical Dictionary. Nakahira's post-1977 photographs were collected in three photobooks: A New Gaze (1983), Adieu à X (1989), and Hysteric Six Nakahira Takuma (2002). While Nakahira was always an important figure within Japanese photographic circles, the upsurge in research and exhibitions on post-WWII Japanese photography since the 2000s has led to a reevaluation of Nakahira's contributions to Japanese photographic, media, and art discourses in recent years, especially outside of Japan. His work has been included in recent seminal exhibitions of Japanese post-WWII art including the Getty Research Institute's Art, Anti-Art, Non-Art: Experimentation in the Public Sphere in Postwar Japan, 1950-1970 (2007), the Museum of Modern Art's Tokyo: 1955-1970 (2012), the Museum of Fine Arts Houston's For a New World to Come: Experiments in Japanese Art and Photography 1968–1979 (2015), National Museum of Modern Art, Tokyo's Things: Rethinking Japanese Photography and Art in the 1970s (2015), and the Art Institute of Chicago's Provoke: Photography in Japan between Protest and Performance, 1960-1975 (2017).Source: Wikipedia
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