Word: winogrands
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Look once at the photographs of Garry Winogrand and you might think the man was all thumbs. But look twice: he had his finger on something special. This ; week, four years after his death at 56, Winogrand is being honored by Manhattan's Museum of Modern Art with a retrospective that is more a coronation than a memorial. The kingmaker is John Szarkowski, MOMA's vastly influential photography curator, who has spent two decades praising and unpuzzling Winogrand's headlong pictures. For the final section of this 190- print summation of Winogrand's career, Szarkowski even had developed more than...
That claim can still make some people wince. To anyone conditioned to want every figure bolted into an ironclad composition, Winogrand's images can look limp, slapdash -- shots taken at the indecisive moment. They seem to lack a prevailing mood, leaving the eye to make its way among faces with canceled expressions or bodies deposited around the frame in eccentric ways. Rather than place his main figures in the foreground of a tautly arranged setting, Winogrand was content to see them sliced by the edges of the frame, or surrounded by acres of unexceptional space, or perched in the middle...
...Winogrand hated the term snapshot aesthetic, which was sometimes applied to his work, but it indicates clearly enough what enraged his critics and rallied his admirers. His conviction that mundane scenes were charged with consequence was nothing new to photography, but he pursued it to lengths that pressed uncomfortably upon an old question: Can the camera take dictation and call it poetry...
...through April 5. There are tentative plans for it to travel to other cities, and it should, to spread the word again that Klein was crucial to the camera world's postwar taste for more offbeat and haphazard imagery; he helped set the mood from which photographers like Garry Winogrand and Diane Arbus sprang...
...illustration. Indeed, four of the photographers -- Harry Gruyaert, Alex Webb, Rio Branco and Jeff Jacobson -- are represented largely by shots that have never even accompanied a story. For one thing, many of these pictures strike a note sounded earlier by photographers like Lee Friedlander and the late Garry Winogrand, men who used the documentary approach for more personal ends. In the 1960s they discovered from snapshots (and from the groundbreaking work of Robert Frank) how the eccentricities of naive picture taking -- the awkward gestures, the uncomposed views -- can be a style in themselves when adopted deliberately. Eventually, their work legitimized...