Word: winogrand
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Eggleston also doesn't like the term snapshot aesthetic, but from early on, just like Garry Winogrand and Lee Friedlander, he's been making pictures that are brilliantly open to the flotsam of the visible world, the little accidents of vision and oddball details that snapshots automatically gather up. He is fascinated by American junk-space, the banal stretches of tract housing and strip malls. But there's nothing camp or ironic about Eggleston's work. The power of his pictures rests on their casual but absolute sincerity, their conviction that small is beautiful. There's something very American about...
...chief curator of photography at the Museum of Modern Art in New York City. In that role he turned out shows and books that powerfully influenced our understanding of what the camera could do. In particular he championed the groundbreaking work of Diane Arbus, Garry Winogrand, Lee Friedlander and William Eggleston, photographers who, as he wrote, had turned documentary photography "toward more personal ends." He once compared camera art simply to "the act of pointing." He pointed, too, expertly, to pictures that he knew the world should know about...
...like ships passing at sea. That's in part because their shows are the latest development in a process that began in 1967, when they were both introduced to a wider public in a pivotal MOMA exhibition that was entirely devoted to them and a third relative newcomer, Garry Winogrand. They were by no means artists of the same stripe, but John Szarkowski, who was then MOMA's supremely influential photo curator, rightly saw that all three were turning the practices of documentary photography, as he said simply, "toward more personal ends." What he might have said was that they...
...years that followed, Arbus, with her I-dare-you-to-look pictures and her untimely death by suicide, would become a legend. Winogrand, who died in 1984, and Friedlander, now 70, settled for becoming enormously influential photographers. But it's only now, with this MOMA show of 500-plus images, that we understand how fiercely delightful and original Friedlander is. If a sophisticated notion of what a picture can look like, the continuous construction of new avenues of feeling, and sheer, sustained inventiveness are the measures we go by, then Friedlander is one of the most important American artists...
...exhibit combines the work of American photographers Hellen Levit, Robert Frank, Diane Arbus, Danny Lyon, Lee Friedlander, Roger Mertin, John Pfahl, and Garry Winogrand, as well as Hungarian photographer Brassai, that, taken together, visually chronicle a developing American sense of self from the 1930's to the late...