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2014-11-18 from 13,700 million years ago to present

from 13,700 million years ago to present


Garry Winogrand “The Animals / Women Are Beautiful” | Taka Ishi Gallery / タカ・イシイギャラリー

  • Photography is about finding out what can happen in the frame. When you put four edges around some facts, you change those facts.
  • Photography is not about the thing photographed. It is about how that thing looks photographed.
  • Photos have no narrative content. They only describe light on surface.

Garry Winogrand



Garry Winogrand: The Animals - MoMA


◇ Garry Winogrand “The Animals” on Vimeo


◇ Pace/MacGill Gallery | Selected Works | Garry Winogrand: The Animals


◇ Garry Winogrand - biography - Pace/MacGill Gallery


MoMA PS1: Exhibitions: Garry Winogrand: Some Animals


◇ Garry Winogrand - Wikipedia, the free encyclopedia


Selected solo exhibitions

Selected group exhibitions

  • 1955: The Family of Man, The Museum of Modern Art, New York.
  • 1957: Seventy Photographers Look at New York, The Museum of Modern Art, New York.
  • 1963: Photography '63, The George Eastman House of Photography, Rochester, New York.
  • 1964: The Photographer's Eye, The Museum of Modern Art, New York.
  • 1967: New Documents, The Museum of Modern Art, New York City with Diane Arbus and Lee Friedlander, curated by John Szarkowski.
  • 1969: New Photography USA, Traveling exhibition prepared for the International Program of The Museum of Modern Art, New York.
  • 1970: The Descriptive Tradition: Seven Photographers, Boston University, Massachusetts.
  • 1971: Seen in Passing, Latent Image Gallery, Houston.
  • 1975: 14 American Photographers, The Baltimore Museum of Art, Maryland.
  • 1976: The Great American Rodeo, The Fort Worth Art Museum, Texas.
  • 1977: Public Relations, The Museum of Modern Art, New York.
  • 1978: Mirrors and Windows: American Photography since 1960, The Museum of Modern Art, New York.
  • 1981: Garry Winogrand, Larry Clark and Arthur Tress, G. Ray Hawkins Gallery, Los Angeles.
  • 1981: Bruce Davidson and Garry Winogrand, Moderna Museet / Fotografiska Museet, Stockholm, Sweden.
  • 1981: Central Park Photographs: Lee Friedlander, Tod Papageorge and Garry Winogrand, The Dairy in Central Park, New York, 1980.
  • 1983: Masters of the Street: Henri Cartier-Bresson, Josef Koudelka, Robert Frank and Garry Winogrand, University Gallery, University of Massachusetts, Amherst.



◇ Garry Winogrand | 66 Artworks, Artist Biography | Artsy


◇ Pace/MacGill Gallery Exhibition Checklist | Garry Winogrand: SIX


◇ PHILLIPS : Art Auctions | Contemporary Art | Exhibitions | Private Sales | Private Collections



Central Park Zoo, New York City (Getty Museum)

I think part of the aim was to unsettle people's ideas, whether his own or other people's. To move people out of an unquestioning space and to some less settled space in which the authority of rules and structures was broken up a bit.

  • Eileen Hale, Garry Winogrand's widow

Garry Winogrand confronted tough issues like racism with a sense of humor, as he did here by photographing this black man and white woman holding apes. The chimpanzees are dressed like children and resemble the human child standing behind the couple. The photographer's close vantage point, the crowd, the dramatic winter light-all add a sense of spectacle.

Winogrand was not simply reacting to a strange moment, but probably also to racial tensions sweeping the country at the height of the Civil Rights movement. The year this picture was made, black actors won Academy Awards, and the U.S. Supreme Court overturned state laws banning interracial marriage. It is not clear whether this man and woman were actually a couple, but Winogrand must have known that their togetherness was as unsettling to some people as their circumstances were comical.


◇ Garry Winogrand | Central Park Zoo, New York City, New York | The Metropolitan Museum of Art

Date: 1967, printed 1974

Medium: Gelatin silver print

Classification: Photographs

Credit Line: Gift of William Berley, 1978

Accession Number: 1978.660.3

Rights and Reproduction: © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco



◇ Camera Works: Photo Essay (washingtonpost.com)

Garry Winogrand: Huge Influence, Early Exit

By Frank Van Riper

Special to Camera Works

In 1984, Garry Winogrand, one of the greatest documentary photographers of his era, died early and under-appreciated.

The 1964 photographs are the result of Winogrand's cross-country Guggenheim-funded odyssey in a battered 1957 Ford Fairlane, given to him by his friend Lee Friedlander. "This is Garry Winogrand's America book," Stack says in her afterword to Winogrand 1964. And, indeed, Winogrand set off on his journey mindful that he had huge photographic shoes to fill. Years earlier, Walker Evans had given the world American Photographs and the Swiss-born Robert Frank had raised the bar even further with his seminal book, The Americans.

The timing of Winogrand's trip was auspicious – at least in terms of the angst and ennui of the era in which he photographed. Winogrand applied for his grant in the early 60s, at the height of the Cuban missile crisis, when nuclear war suddenly had become a terrifying possibility. In his grant application Winogrand complained that the mass media "all deal in illusions and fantasies. I can only conclude that we have lost ourselves and that the bomb may finish the job permanently, and it just doesn't matter, we have not loved life.

I cannot accept my conclusions, and so I must continue this photographic investigation further and deeper. This is my project."

By the time Winogrand received his grant, John F. Kennedy had been assassinated, stripping away even further the country's innocence and its sense of invulnerability.

Thus, a street-smart Jewish kid from the Bronx, who considered himself whole only when he held a Leica to his eye, hit the road, savoring and reflecting life through his lens.

"It's as though his life in photography really took hold in that slow car headed west," Wilner writes.


◇ The Work of Garry Winogrand

The Work of Garry Winogrand

John Szarkowski

Winogrand spoke of the Cuban missile crisis of 1962 as a crucial episode in his life. During the days and nights when the issue remained in doubt he walked the streets, in despair out of fear for the life of his family and himself and his city, and from his own impotence to affect the outcome. Finally it came to him that he was nothing—powerless, insignificant, helpless—and that knowl­edge, he said, liberated him. He was nothing, so he was free to lead his own life. It is at this point that Winogrand's political activities ceased. His earlier involvement with the Young Democratic Club and the American Society of Magazine Photographers was dropped.15 For the rest of his life he apparently belonged to no organizations, and he declined to vote.

In 1962 Winogrand was also facing the dissolution of his mar­riage. To all appearances he was a comfortably secularized Jew and an unquestioning agnostic—a man not quite interested enough in the issue to be a convinced atheist. Nevertheless, the important ethical strictures had retained much of their force. Winogrand told Papageorge that in his family, divorce was not a recognized option, and it had not been for him, until the failure of his marriage could no longer be denied. Winogrand and Adrienne separated for the last time in 1963, but their divorce did not become final until 1966. Both the loss of his wife and the loss of his marriage were profound defeats for Winogrand. Perhaps, like the missile crisis, they were also liberating.

Late in his life, when his confidence as a teacher had grown more secure, and as he was less in need of the modest fees supplied by workshops and one-night stands of show-and-tell, his style at the lectern became more relaxed; his answers to naive questions were less curt and combative, and were on occasion generous and open, within the limits of his fierce pride. But to the end of his life he could be coldly contemptuous of the student who would not distinguish the art from the artist:

Q: Why do you make art?

A: It's a way of living. It's a way of passing through the time.

Q: Then I can't really take your images seriously.

A: Look, so you like a lot of rhetoric. All there is is the pictures. I'm irrelevant to the pictures. You have a lot to learn, young man. The artist is irrelevant once the work exists


◇ Discovering New Old Garry Winogrand Photographs - NYTimes.com

Discovering New Old Garry Winogrand Photographs

By STACEY BAKER APRIL 22, 2012 3:00 PMApril 22, 2012 3:00 pm



◇ Revisiting Some Well-Eyed Streets - NYTimes.com

Garry Winogrand, about 1967-68.COURTESY EILEEN ADELE HALE


Planet of the Apes: John Szarkowski, My Lai, and The Animals | Art Journal

By Chris Balaschak / March 4, 2013 / Back Issues, Highlighted Content

In a 1981 interview with Barbaralee Diamonstein, the photographer Garry Winogrand called the media’s obsession with politics during the Vietnam War “monkey business.”1 The statement is tinged with irony, not in its mockery of

the role of photography to depict politics and war explicitly (Winogrand having been a professional photographer), but in the fact that Winogrand was known as a photographer of “monkey business.” In 1969 Winogrand published The Animals alongside an exhibition of the same name at the Museum of Modern Art, New York (MoMA). Though it has never been seen as such, it was a timely project, and represents a satire of American society during the height of a war “unassimilable” by popular culture.2 By interpreting Winogrand’s The Animals as a social satire, we can reinvest the photographer’s work with a redemptive quality it was seen as lacking due to its presentation by MoMA and show the relevance of Winogrand’s photography within the Vietnam War era.

During the period of US military involvement in Vietnam (1955–75), responses to the war in various cultural fields were indirect, with artists preferring appropriation, allegory, and satire as critical strategies.3 Even in protest, artists of the time chose not to confront politicians responsible for the war, but museums of art, which were seen to be both ambivalent and implicated in the war. Two artists’ groups, each formed in 1969, were typical of this war protest by proxy. The first was the Art Workers’ Coalition (AWC), formed in 1969 as an organization to enact social change within cultural institutions such as MoMA.4 A second group, which emerged from the AWC, was the Guerilla Art Action Group (GAAG).


◇ GARRY WINOGRAND: “The Animals and Their Keepers: Garry Winogrand and Photography After September 11th” | AMERICAN SUBURB X

The Animals and Their Keepers: Garry Winogrand and Photography After Septempber 11

By Hilton Als

“The Animals,” a book I was moved to reexamine after the events of Sept. 11, 2001, is the deliberately literal-sounding title of photographer Garry Winogrand’s first book of photographs, which was published in 1969, some 20 years after the artist embarked on his life’s work that of becoming the Theodore Dreiser of the lens. Winogrand was New York’s, not Chicago’s, most brilliant modern reporter, a journalist not unaware of the issues implicit in what he chose to photograph: the women and blacks who defined the city’s “outsiderness.”

“The Animals” consists of 43 black-and-white images shot at the Central Park Zoo over a period of seven years from 1962 to 1969. Published by the Museum of Modern Art, the photos were created with a wide-angle lens, Winogrand’s preferred style after 1960. He would follow “The Animals” with four more books: “Women are Beautiful” (1975); “Garry Winogrand” (1976); “Public Relations” (1977); and, in 1980, “Stock Photographs: The Fort Worth Fat Stock Show and Rodeo.”


Garry Winogrand | Jeu de Paume

The Jeu de Paume presents the first retrospective in twenty-five years of the great American photographer, Garry Winogrand (1928–1984), who chronicled America in the post-war years. Winogrand is still relatively unknown because he left his work unfinished at the time of his death, but he is unquestionably one of the masters of American street photography, on a par with Walker Evans, Robert Frank, Lee Friedlander and William Klein.

Winogrand, who photographed “to see what the world looks like in photographs,” is famous for his photographs of New York and American life from the 1950s through the early 1980s. Organized jointly by the San Francisco Museum of Modern Art (SFMOMA) and the National Gallery of Art, Washington, D.C., the exhibition “Garry Winogrand” brings together the artist’s most iconic images with newly printed photographs from his until now largely unexamined archive of late work, offering a rigorous overview of the photographer’s complete working life and revealing for the first time the full sweep of his career.

The photographs in the exhibition and the accompanying catalogue will create a vivid portrait of the artist, a chronicler of postwar America on a par with such figures as Norman Mailer and Robert Rauschenberg, who unflinchingly captured America’s wrenching swings between optimism and upheaval in the decades following World War II.

While Winogrand is widely considered to be one of the greatest photographers of the 20th century, his overall body of work and influence on the field remains incompletely explored. He was enormously prolific, but largely postponed the editing and printing of his work. Dying suddenly at the age of fifty-six, he left behind approximately 6,500 rolls of film (some 250,000 images) that he had never seen, as well as proof sheets from his earlier years that he had marked but never printed. Roughly half of the photographs in the exhibition have never been exhibited or published until now; over 100 have never before been printed.

“There exists in photography no other body of work of comparable size or quality that is so editorially unresolved,” says Rubinfien, who was among the youngest of Winogrand’s circle of friends in the 1970s. “This exhibition represents the first effort to comprehensively examine Winogrand’s unfinished work. It also aims to turn the presentation of his work away from topical editing and toward a freer organization that is faithful to his art’s essential spirit, thus enabling a new understanding of his oeuvre, even for those who think they know him.”

The exhibition is divided into three parts, each covering a broad variety of subjects found in Winogrand’s art : “Down from the Bronx” presents photographs taken for the most part in New York from his start in 1950 until 1971; “A Student of America” looks at work made in the same period during journeys outside New York; and “Boom and Bust” addresses Winogrand’s late period—from when he moved away from New York in 1971 until his death in 1984—with photographs from Texas and Southern California, as well as Chicago, Washington, Miami, and other locations. This third section also includes a small number of photographs Winogrand made on trips back to Manhattan, which express a sense of desolation unprecedented in his earlier work.

Winogrand was known as great talker with a flamboyant, forceful personality, and what he said accompanying his slide shows and lectures was often imaginative and very funny. Excerpts from a video made in 1977 will allow visitors to experience the living Winogrand.


Leo Rubinfien, Erin O’Toole and Sarah Greenough

The exhibition has been conceived and guest-curated by photographer and author Leo Rubinfien with Erin O’Toole, associate curator of photography at SFMOMA, and Sarah Greenough, senior curator of photographs at the National Gallery of Art.


“Garry Winogrand” is organized by the San Francisco Museum of Modern Art and the National Gallery of Art, Washington.


Photographs - Yale University Art Gallery

The Gallery’s collection of photographs spans the medium’s history, with exceptional holdings of work made in America during the 20th century. Of particular distinction in the collection are complete sets of master prints by Robert Adams and Lee Friedlander. - See more at: http://artgallery.yale.edu/photographs#sthash.EC0d4q0L.dpuf