John F. Kennedy, Democratic National Convention, Los Angeles, 1960
Garry
Winogrand, posthumous digital reproduction from original negative;
Garry Winogrand Archive, Center for Creative Photography, University of
Arizona; © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San
Francisco
Los Angeles, ca.1980–83
Garry Winogrand,
gelatin silver print; Garry Winogrand Archive, Center for Creative
Photography, University of Arizona; © The Estate of Garry Winogrand,
courtesy Fraenkel Gallery, San Francisco
Richard Nixon Campaign
Rally, New York, 1960
Garry Winogrand, posthumous digital reproduction from original
negative; Garry Winogrand Archive, Center for Creative Photography,
University of Arizona; © The Estate of Garry Winogrand, courtesy
Fraenkel Gallery, San Francisco
Los Angeles, 1980–83
Garry Winogrand, posthumous
digital reproduction from original negative; Garry Winogrand Archive,
Center for Creative Photography, University of Arizona; © The Estate of
Garry Winogrand, courtesy Fraenkel Gallery, San Francisco
(SFMOMA/Yale University Press)
The exhibition catalog, Garry Winogrand, serves as the most comprehensive volume on Winogrand to date and the only compendium of the artist's work. Five new essays, and nearly 400 plates, trace the artist's working methods, major themes, and create a collective portrait of Winogrand.
Leo Rubinfien provides an extensive overview of Winogrand's life and career. Erin O'Toole,
assistant curator of photography at SFMOMA, considers the Winogrand
archive at the Center for Creative Photography and matters relating to
the ethics of posthumous printing of the artist's work; she also writes
introductions to each of the three main plate sections. Sarah Greenough,
senior curator of photographs at the National Gallery of Art, considers
the magazine culture that gave birth to Winogrand's early work and the
emergence of the museum context that fostered his ideas in the 1960s. Sandra S. Phillips, senior curator of photography at SFMOMA, writes about Winogrand's relevance for contemporary photography. Susan Kismaric,
former curator in the Department of Photography at the Museum of Modern
Art, New York, offers a selected bibliography, full chronology, and
annotated checklist that enables the reader to tell who among
Winogrand's various editors has been responsible for the selection of
any photograph, and when.
Photographer Tod Papageorge, the Walker Evans Professor of Photography in the School of Art at Yale University, and
Winogrand's intimate friend, protégé, and sometime editor, writes of his
early years in New York when he met Garry Winogrand and became one of his
closest friends. Papageorge curated Winogrand's 1977 exhibition, Public Relations, at the Museum of Modern Art. His own photographs have been exhibited and published widely, including Passing Through Eden (Steidl, 2007), American Sports, 1970: Or How We Spent the War in Vietnam (Aperture, 2007), OPERA Città. (Punctum Editions, Rome 2010) and Core Curriculum: Writings on Photography (Aperture, 2011).
In the exhibition catalog Papageorge writes, "Before long, Garry and I were photographing together....moving up and down Fifth Avenue between Forty-second and Fifty-seventh Street, picture scouts loosely spread along a block or two, the flow of office workers, shoppers, tourists, cops, would-be world-beaters, and les belles dames sans merci presenting whole schools of potential actor-subjects shifting, rushing, pushing, expressing incalculable, evanescent patterns of gesture and movement. We each found a place in it, and a reason. For me, the challenge was to stop and hold that streaming flood of movement in a clear, coherent picture. Garry, for his part, was more compelled by the exchanges and story lines of the human comedy he encountered (and, with his rapid eye and mind, intuited or imagined), bringing his camera so quickly to and from his eye that he appeared to be scratching his nose. Up and down, back and forth: we were all in it nearly every moment, but Garry Winogrand was in it and in his very element."
In the exhibition catalog Papageorge writes, "Before long, Garry and I were photographing together....moving up and down Fifth Avenue between Forty-second and Fifty-seventh Street, picture scouts loosely spread along a block or two, the flow of office workers, shoppers, tourists, cops, would-be world-beaters, and les belles dames sans merci presenting whole schools of potential actor-subjects shifting, rushing, pushing, expressing incalculable, evanescent patterns of gesture and movement. We each found a place in it, and a reason. For me, the challenge was to stop and hold that streaming flood of movement in a clear, coherent picture. Garry, for his part, was more compelled by the exchanges and story lines of the human comedy he encountered (and, with his rapid eye and mind, intuited or imagined), bringing his camera so quickly to and from his eye that he appeared to be scratching his nose. Up and down, back and forth: we were all in it nearly every moment, but Garry Winogrand was in it and in his very element."
March 9 - June 2, 2013
Edited by Leo Rubinfien; With contributions by Sarah Greenough, Susan Kismaric, Erin O'Toole, Tod Papageorge, and Sandra S. Phillips
+ + +
Garry Winogrand: Co-organized by SFMOMA and the National Gallery of Art, Washington DC. San Francisco March 9–June 2, 2013 (Source: San Francisco Museum of Modern Art http://www.sfmoma.org)
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