ASX CHANNEL: Garry Winogrand …
ASX CHANNEL: Garry Winogrand Tweet…
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 “Still Going”, from Bystander: A History of Street Photography (2001) by Colin Westerbeck and Joel Meyerowitz This final chapter takes the form of a conversation between Colin Westerbeck and Joel Meyerowitz about the latter’s memories of his own early days as a street photographer in New York in the 1960s and his association with Robert Frank, Garry Winogrand, Diane Arbus, Lee Friedlander, and others. The talks transcribed h…  …nd that the world would be pretty gray without it. MD: I get the sense from your writings of a clear group of key figures whose work you are especially intrigued by: Brady, O’Sullivan, Atget, Walker Evans, Robert Frank, Garry Winogrand, Lee Friedlander, William Eggleston. A simplicity and directness of the use of the camera could be said to characterize all their work: a respect for actuality, no embellishment. This certainly identifies a r… INTERVIEW: “Eyes Wide Open: Interview with John Szarkowski” (2006)  …had taken place eight years earlier at the Art Institute of Chicago, and his next did not occur until 1962, again at the Museum of Modern Art, in conjunction with the publication of the second edition of American Photographs. Garry Winogrand, then a member of the American Society of Magazine Photographers and an associate of the Pix photo agency, has said that Evans’ work was never mentioned in the discussions he had then with other photographers…  …tinuity. Too many photographers have only a few brief years of diary in them. Few have the several decades of Friedlander. The photographic medium, it would seem, has a higher ‘burn-out’ rate than teenage tennis players. Even Garry Winogrand, Friedlander’s alter ego, would seem to have run out of ideas and impulse. Robert Frank and Diane Arbus, in tragically differing ways, might be said to have quit while they were ahead. Only William Eggleston …  …is tremendously sad, for if we look back, the simple truth is that the majority of the great photographic works of art of the 20th century operate in precisely this territory: from Walker Evans to Robert Frank, Diane Arbus to Garry Winogrand, from Stephen Shore traveling across America in Uncommon Places; Robert Adams navigating the freshly minted suburbs of Denver in The New West, or William Eggleston spiraling towards Jimmy Carter’s hometown in…  …more marked with the advent of small cameras, and a clear line of diaristic photographers can be traced through Henri Cartier-Bresson and André Kertész to Frank and Klein, and then to Van der Elsken, Provoke, Lee Friedlander, Garry Winogrand, Danny Lyon, and many others in the late twentieth century. At its best, stream-of-consciousness photography represented a political as much as a formal gesture. The politics were perhaps turned inwards, but …  …anyons of Manhattan supplied the arena for much of the strongest photographic work being made in the country — a view ratified by New Documents, a 1967 landmark exhibition at the same museum featuring the work of Diane Arbus, Garry Winogrand, and Lee Friedlander — but Adams’s transparent, distant views of tract homes, shopping strips, and the concrete-block churches appending them demonstrated that the greater American landscape could once again … ROBERT ADAMS: “Tod Papageorge on Robert Adams – The Missing Criticism – What We Bought”  …. It just simply means that I am able to think better. Let’s put it that way. AC: I read that you don’t really consider yourself an environmental portrait photographer, is that true? AN: No, I think basically I am. But I hate labels. That label was placed on me by an early writer who did an article on me calling me the father of the environmental portrait, which seems to have stuck. But the Stravinsky is not an environmental portrait, it’s really…  …enting is extremely dull and journalism…I’m a very bad reporter and a photojournalist. Capa told me when I had an exhibition at the museum of Modern Art in ’46, he said no, he’d be very careful. You mustn’t have a label of a surrealist photographer. All my training was surrealism. I still feel very close to a surrealist but he said if you were labelled as a surrealist photographer you won’t go any further you won’t have an assignment … HENRI CARTIER-BRESSON: “Words by Henri Cartier-Bresson” (1973) | ||||||||||||||
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