Garry Winogrand
Garry Winogrand ( born January 14, 1928 in New York City; † 19 March 1984, Tijuana, Mexico ) was an American photographer.
Life
After Winogrand studied painting at City College in New York, he turned to the early 50s not to photography. The works of American Photographs by Walker Evans and The Americans by Robert Frank influenced him greatly.
Winogrand is mostly known as a representative of street photography. Although photographers before him, such as André Kertész, Henri Cartier -Bresson photographed on the street, it must nevertheless Winogrand be regarded as the actual originator of the genre.
In the 1960s, he gave up the job photography, working only artistic. He twice won the Guggenheim Award and made major exhibitions in New York and published several books of his paintings. He was a manic photographer. Winogrand was no road along go without expose a film. However, he photographed first by no means random, but composed his images very accurately.
In the 1970s, he was teaching, the quality of his pictures took off though. In recent years he lived in Los Angeles and was driven by his photo lab technicians in the car again and again to the same places. Winogrand not got out of the car, but photographed from the front passenger seat. He was no longer approached his objects and people, he put the lens stops sharp, no longer held the camera still. He bought a Leica with motor and pressed indiscriminately from. Some critics led this development back to Los Angeles, the city was too big, too broad, the light too bright, so much automobile for street photography. Others thought the time of street photography is over at all. In the end, the quality of his recordings collapsed. Many thousands were technically corrupted, triggered other random or mundane.
Winogrand died in Tijuana on gallbladder cancer. After his death, he left behind no less than 2500 exposed but undeveloped film. Numerous other films were developed but completely unedited. His estate comprised at least 300,000 unprocessed, unmapped and labeled negatives. His longtime friend and supporter of John Szarkowski reacted emotionally to the stock when he tried to curate an exhibition from the estate: he " only felt impatience, then anger, and finally he was convinced to have become the victim of a cruel joke, thought This photographer to humiliate him. ' "
Or maybe the 300,000 posthumous images were misunderstood. Maybe they were not the result of a collapse of his talent, but instead an attempt to test the limits of street photography, to see if he could make his works so unimportant and random as possible and still produce something that is worth to look at.
Among the posthumous works are images that have been collected for a retrospective in 2013 at the San Francisco Museum of Modern Art as a series. They show individuals who stand at intersections. "You look lost, tattered and determined, as if they are pushing forward without knowing where they will come out. " These images show in the exhibition that Winogrand has not lost his talent that he has made great pictures until the end. Just not as often, and that he no longer recognized.
Quote
"I photograph to find out what something looks like when it was photographed. "
Works
- The Animals, 1969
- Women are beautiful, 1975
- Public Relations, 1977
- Stock Photographs: The Fort Worth Fat Stock Show and Rodeo, 1980, ISBN 978-0292724334