Anything else? So I think he shared the responsibilities of the household. You know all the stories. You know what I mean? Nothing. Look at the dance here. What's funny about a pun? So there was a certain excitement about his days, and that was irresistible to the 26-, 27-year-old person I was when I first met him. With the other hand. I never thought of myself that way, either way. ♪♪ O0 C1 -Well, what is a photograph? So as the national culture moved in the direction that it's all illusion, that every face is really a mask, that every statement is really a joke, I think that possibly Winogrand would have seemed less relevant. I think he would have probably stuck it out if there were a way to do that. I talked to my friends. Or perhaps it is possible that he finally used all of his time and energy 'burning film,' as he put it, because he could not face the prospect of looking at what he had shot yesterday. He'd roll out the house, pick up the camera. Because you do need what the pictures give back to you. [ Laughter ] -One of the things I love about Winogrand is the dance, or the dance, and you guys might say. You see, it didn't have the same meaning the way it seems to now, the whole thing that's happened with photography. Within two or three weeks of finding out about the camera club, somebody showed me how to operate the enlarger. Garry Winogrand is considered one of the most important American photographers of the 20th century, during which he amassed an archive of images capturing its evolving attitudes and anxieties. Gay men look at men. Over 750 photos, along with extensive essays and biographies, ... Buying GARRY WINOGRAND posters through this link supports Masters of Photography: Garry Winogrand American Legion Convention, Dallas, Texas His camera seized upon the spectacle of a massive social upheaval—that age when American mania for self-promotion and wanton exhibitionism was in its infancy. His successor, John Szarkowski, once believed Winogrand to be the most prolific, innovative photographer of his time. There were some people I think that thought, you know, the male gaze was objectifying women. -I particularly remember him talking about the picture made in Baton Rouge. The film spotlights Garry Winogrand’s under-examined later work and the controversies he faced, such as the backlash against his 1975 book. To further explore the lives and works of masters past and present, American Masters offers streaming video of select films, outtakes, filmmaker interviews, the American Masters Podcast, educational resources and more. He's -- He's an older man. Matter of fact, what happened was, he ran into me at a party. It was much more that it was such an incredibly protected world. And how do you get around making those pictures again and again? ♪♪ As a teacher, I think of myself what I'm doing here as -- I don't feel that I'm there to...photographers. In the years I lived in my mother's house. -Winogrand, though there's plenty of irony in his work, he is never ironic about the enterprise of artmaking. I look at the pictures I have done up to now, and they make me feel that who we are and how we feel and what is to become of us just doesn't matter. Create New Account. [ U2's 'Still Haven't Found What I'm Looking For' plays ] ♪♪ ♪♪ -♪ I have climbed highest mountain ♪ ♪ I have run through the fields ♪ ♪ Only to be with you ♪ Only to be with you ♪ I have run, I have crawled ♪ I have scaled these city walls ♪ ♪ These city walls ♪ Only to be with you ♪ But I still haven't found... -Oh, I saw him literally in the last week of his life, and, uh... what I saw then -- I don't know. -I think the primary difference between Frank and Winogrand is that Frank was a foreigner, and he felt a distance from his subjects. So when I finally got to MoMA, and I saw what Szarkowski was up to, I thought, 'What is going on here?'. You become an artist -- You become an artist despite, not because. You know, Jews are white, as are Italians, and so -- and Irish people, so it's hard for us to imagine how you could even single them out. Winogrand felt that this role of illustrator, that if you accepted this role, you would be blocked, that the poetry of the photograph, its ambiguity, the uncertainty that we feel, the magazines didn't want any of that. He looked for a parallel in photography. You know. It was the harbinger of the selfie generation. -I think the 'Public Relations' work, it's a body of work which seems less remarkable now, perhaps, precisely because it was so successful. garry winogrand master of american photography 2002 fleetwood cachet fdc. Eddie Marritz is the Director of Photography. Okay? There was something about the distinction between Arbus, Friedlander, and Winogrand that it allowed me to understand Garry's work by looking at it in relation to those two other people. -I find it kind of intriguin because we allow the state to photograph us so relentlessly, yet people don't seem as bothered by that as they do by someone who is clearly an artist. He would test the camera's capacity for describing life by piling onto it heavier and denser and more complex loads of data. I'm very subjective in what I photograph. Sections of this page. -How far behind are you? And Garry was the first, I think, great master of that drawing. -How much time do you spend in your dark room? -His investigations of the medium conducted out on the street, conducted speculatively. I really am sad about the end, that I didn't get to see him again and tell him that I loved him with all -- everything. -With the installation of John Szarkowski at MoMA, there was this sense that something new was possible, something even revolutionary. The more I work, the more subject matter I can begin to try to deal with. [ Laughter ] -Do you count it in years? American Masters – Garry Winogrand: All Things are Photographable is the first cinematic survey of that legacy. You know, that's a reality, and to deny that reality is futile. -No. ♪♪ -The photo in front of Denny's on Sunset, you can feel, even if you don't know anything about the equipment, someone in their car holding this apparatus up like that, and it's Dutched, and it's a catastrophe. You saw a landscape that was a strange sort of combination of frontier and wasteland. Meaning, the monkeys will eventually type 'War and Peace' if you have enough monkeys and enough typewriters. It's part of a process. -All these contact sheets, you could look at a picture that was made two years before, a strip, and then that, and then a year ago. When I did the story for Don of what he would be like on his own, I couldn't find any examples. -Winogrand was controversial in his time and even remains so. seller assumes all responsibility for this listing. Who could stand looking at a Garry Winogrand photograph while they're having dinner? 'The Animals' came about in a funny way because I made a few shots, and at some point, I realized something was going on in some of those pictures. And so obviously, from the point of view of people who are feminists at that time to be not taken seriously when you're at a protest rally and to be seen only as somebody without a bra was deeply problematic. But then when you really look at it, you realize it's an extension in a lot of ways of his street photography, I think, because there are all these unscripted dramas that are happening at the zoo. ♪♪ -Winogrand went on to Los Angeles in 1978. And his work is a manifestation of that. It was the 'Mad Men' era when I met him in the middle '60s. And Garry, you know, went down with the tide. And that's all we ever know about anybody -- what we see. And then I -- And then I discovered what it was. You know, I use flash. And, by the way, all of this has changed if you add 100 years. -And the pictures will prove women are beautiful. It turned out the dark room was available 24 hours a day, so I went there. Decades before digital technology transformed how we make and see pictures, Garry Winogrand made over 1 million of them with his 35mm Leica camera, creating an encyclopedic portrait of America from the late 1950s to the early 1980s in the process. And then I think he took it, whether consciously or not, as a personal challenge himself. He was not in pain. Garry Winogrand’s influence and achievements: In recent years, much more of Winogrand’s vast photo archive has been printed and exhibited, urging a reassessment of the photographer’s late-career work. There's only one problem with this picture, which is that the two children are two chimpanzees. After he died, I decided to move here because one of the reasons was is, you know, I wanted to go to the place where Garry had made the work that had influenced me so much. This is just going to degenerate into further and further chaos, and I can't deal with it, and I left. She worked as a seamstress, sewing ties. The understanding, the sort of existential understanding and how the photograph acts as this symbol of our aloneness in the world is profound. That's the joke. It completely changes the nature of the drawing of a photograph. His “snapshot aesthetic” is now the universal language of contemporary image making. Garry Winogrand (14 January 1928 – 19 March 1984) was an American street photographer, known for his portrayal of U.S. life and its social issues, in the mid-20th century. -That statement, I think, could be taken to stand for his entire life as a photographer. I mean, one of the things that he really looked at, as far as the body is concerned, he went from top to bottom. To how we all live in a world of illusion? He was a very poetic man, and I think most to the point, he was a wonderful curator in the sense that he had a wonderful eye. -From my perspective, 'Women are Beautiful' is a very bad book. Winogrand captured rowdy Texas rodeos, political conventions, angry protests, zoos, parades, celebrity balls and city streets teeming with women newly liberated from the repressive 1950s. The one place he knew he could fit in was with family. ♪♪ The high and the low to me is all about honesty. And you have to fail a lot in order to push yourself and to learn and to grow. -How long have you been married? I read the newspapers, the columnists, some books, and I look at some magazines -- our press. I cannot accept my conclusions, and so I must continue this photographic investigation further and deeper. But it's not late Coltrane in the sense that it's where he was finally gonna arrive at. And so Winogrand, looking back as much as forward, chose to leave New York finally and go to live in Texas and in California with the idea that by returning to these places that he had visited, he would be able to deepen his understanding of them. I'm trying to make the point, you're working at it, and you have a shot. Most everything I do doesn't quite make it. Do you think he was joking when he said, 'It's the closest I get to not existing'? He asked me when I was 16 to marry me. -'Women are Beautiful: The Observations of a Male Chauvinist Pig.'. He was interested in those things that upset one's sense of convention. Garry left New York. And he mentioned it specifically in a later picture of a clown being chased by a bull. -I feel like, taking the beauty of a real person, we're many layers away from that right now. People wish they could wear a pair of glasses that Photoshop the world. -John Szarkowski called you the central photographer of your generation. It bolloxes my mind, I mean, when people talk about photographs in depth and whatnot. In the end, the word 'dramatic' has to apply. He needed a car. I don't think he would admit to any of these feelings, but that's the way that I saw him. In spite of his own experience, which was checkered at best, he never tired of craving marriage and family life. -He saw no other possibility for himself. The Jeu de Paume presents the first retrospective in twenty-five years of the great American photographer, Garry Winogrand (1928–1984), who chronicled America in the post-war years. ♪♪ -He was a city hick from the Bronx whom the winds of fate brought to photojournalism. Thank you. And a pun calls into question what you believe a word means. This opposition between the world of light and the world of darkness -- the world of having and not having -- the world of freedom, the world of inevitability -- this opposition is clear enough in the picture. Garry looked at Evans, and what he saw was the pure energy that's contained in absolute photographic description, which is the style of the naked fact, the 'is-ness' of things. He was on fire that year and produced a tremendous body of work, for the most part in Texas and in California. Additional support is provided by the Corporation for Public Broadcasting, Rosalind P. Walter, The Philip and Janice Levin Foundation, Ellen and James S. Marcus, Judith and Burton Resnick, the Vital Projects Fund, Cheryl and Philip Milstein Family, The Blanche & Irving Laurie Foundation, The André and Elizabeth Kertész Foundation, Seton Melvin, the Lillian Goldman Programming Endowment, and public television viewers. -He went out and pushed himself to make difficult pictures to test the limits of what a picture could contain. This picture doesn't tell you anything, really. -How do you make a photograph of this more interesting than what happened? And it was Arbus' way of looking at her fellows. He asked me to call him, and I never did. His work was a world made up of energy, ambition, desperate moments, and unfamiliar beauty. [ REM's 'Catapult' plays ] ♪♪ -♪ Ooh, we were little boys ♪♪ ♪ Ooh, we were little girls ♪♪ ♪ It's nine o'clock, don't try to turn it off ♪ ♪♪ ♪ Cowered in a hole ♪ Open your mouth, a question ♪ Did we miss anything? You take the film out, you put the new roll of film in. -He gave a public lecture, and somebody asked him, 'Well, how many pictures do you have to take to take a great one?'. Why -- Why should Garry be influential in that? And that's what I feel about Garry, that he was that totally remarkable. And somehow, he felt really saddened that he wasn't in better shape, that he couldn't be there more for his daughter. What did I know? And once I discovered this, I went back and back and back and back, and I could draw a direct line. -You can't do that with color paper. Garry Winogrand: Visions from the Street, Portraits of America A blockbuster retrospective exhibition that revealed hundreds of photos (many never-before-seen), hand-marked contact sheets, letters—in short, a rare glimpse into the mind of a master. And to me, what a lot of people see as bleak in that work is more about the place. I'm looking at all the processes. In addition to hundreds of iconic photographs, filmmaker Sasha Waters Freyer makes ample use of Winogrand’s previously unseen 8mm color home movies of his parents, three wives and children, plus the wealth of footage created as he roamed city streets and attended 1960s protests. -I know that a lot of his friends and admirers disagree with me, but I think that he was really onto something with the late work in Los Angeles. -He was such a bastard. -The 1967 'New Documents' exhibition reset the course of photography. I can do the turnaround jumper. Winogrand was an American, and he can be extremely tough and is surfacing a lot of things that are not right with America. And it is also hilarious and ironic and funny. Of course that's what it's about. American Masters – Garry Winogrand: All Things are Photographable is produced, directed and edited by Sasha Waters Freyer. The generation of young people who grew up in the Bronx were very often the children of immigrants. Whatever comes out, that's the way I have to express it. -Then you convince 'em. -I call them the nose-job generation, and they are enjoying the benefits of assimilation, but they cannot assimilate. It's the great challenge, I think, for curators, of late Winogrand, because just whether the eye has the stamina to find the riches that one believes are there. But also very vulnerable. And I think that is one of the things that so manifested in Winogrand. These images capture a bygone era: the New York of Mad Men, the early years of the Women’s Movement, the birth of American suburbs and the glamour and alienation of Hollywood. ♪♪ -One of my favorite pictures is a photograph from 1950 of a sailor walking alone. I won't say that they're beauties, but they're sexy, and they're noticing this crippled youth. Illustrating written stories machine, you know -- maybe that was raised on TV, fertile places for a of... 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