Garry Winogrand (American, 1928-1984). Untitled (Cape Cod), 1966. 35mm color slide. Collection of the Center for Creative Photography, The University of Arizona. During the 1950s and ‘60s, Garry Winogrand made…
Geoff Dyer’s new book, The Street Philosophy of Garry Winogrand, is more linear than his first, The Ongoing Moment, but no less idiosyncratic. Selecting one hundred images from among the estimated one million that the fantastically prolific street photogr
It’s Winningham who introduces Winogrand, saying “Welcome to the Winogrand circus,” and then Winogrand asks for questions from the students. He talks about how he works, his approach to different subjects, and the work of other photographers (Robert Frank, Walker Evans, Bruce Davidson–at 21:44: “[East 100th Street] is sickening…morally, it’s sickening, and photographically it’s just a goddamned bore,” and others). It’s a wide-ranging and very informal talk, but offers a fascinating perspective from Winogrand about his own work and others’.
“The world is not a tidy place,” said the American photographer Garry Winogrand. “It’s a mess. I never try to put it in order.” His photographs seem to exist in a kind of unstable equilibrium. It shifts and seethes within the frame, pushing at its edges. The figures laugh and shout, their glances sharp as knives. Even the horizon is crooked. It’s as if life itself was crammed into a small rectangular frame:
Garry Winogrand’s 25-year retrospective, currently on display at the National Gallery of Art in Washington, D.C., includes Winogrand’s iconic images of everyday Americans—New Yorkers out on the street, lone figures in busy airports, and eerie scenes of we