Word: winogrand
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Dates: during 1975-1975
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...MOST OF the photographers in The Snapshot, time is fleeting and each image is an instantaneous moment within it. Gary Winogrand is a master of capturing the telling moment when human interaction is at its most explicit. Sometimes the result is too neat--one photograph is made by the simple gimmick of two men frozen in the similar act of pointing at the same unseen object. Others strike to the heart of interrelationships. One features the taut confrontation of mother and son on a city street. The kid's whining defiance and his mother's tired implorings cry out from...
...pictures he has assembled simply are not the best photographs which have been taken, and not infrequently the photographers he has exhibited have not been the most important photographers working. The most glaring example is the exclusion of both Garry Winogrand and Lee Friedlander from the show. In almost anyone's estimation, these two men were the most important photographers of the 1960s, whether they are to be judged by the quality of work that they have produced, or the quantity of imitators that they have spawned. Their work, especially Friedlander's, is typical of good modern photography in that...
...height when it picks out the realities which are known to be significant to our lives and gives them coherent visual expression. This "Flame of Recognition," to use Nancy Newhall's description of Edward Weston, is what lies behind any great photographer. The absence of Friedlander, Winogrand and their co-workers from the Whitney's show is emblematic of Doty's failure to comprehend this, but his miscomprehension of what makes for good photography also shows up in his failure to hang the best photographs by several of the "classic" photographers. Doty's treatment of Edward Steichen and Alfred Steiglitz...