◇ Garry Winogrand “The Animals” on Vimeo
https://vimeo.com/32917134
◇ Pace/MacGill Gallery | Selected Works | Garry Winogrand: The Animals
http://www.pacemacgill.com/selected_works.php?item=40
◇ Garry Winogrand - biography - Pace/MacGill Gallery
http://pacemacgill.com/site_PDFs/biographies/Winogrand-Biography.pdf
◇ MoMA PS1: Exhibitions: Garry Winogrand: Some Animals
http://momaps1.org/exhibitions/view/329
◇ Garry Winogrand - Wikipedia, the free encyclopedia
Books
- The Animals. New York, NY: Museum of Modern Art, 1969. ISBN 0-374-51301-5.
- Women are Beautiful. Light Gallery / New York, NY: Farrar, Straus and Giroux, 1975. ISBN 0-87070-633-0.
- Public Relations. New York, NY: Museum of Modern Art, 1977.
- Stock Photographs: The Fort Worth Fat Stock Show and Rodeo. Minnetonka, MN: Olympic Marketing Corp, 1980. ISBN 0-292-72433-0.
- The Man in the Crowd: The Uneasy Streets of Garry Winogrand. San Francisco, CA: Fraenkel Gallery, 1998. ISBN 1-881337-05-7.
- The Game of Photography. TF, 2001. ISBN 84-95183-66-8.
- Winogrand 1964. Santa Fe, NM: Arena, 2002. ISBN 0-374-51301-5.
- Arrivals & Departures: The Airport Pictures of Garry Winogrand. Charles Rivers, 2002. ISBN 1-891024-47-7.
- Figments from the Real World. New York, NY: Museum of Modern Art, 2003. ISBN 0-87070-635-7.
- Garry Winogrand. San Francisco, CA: San Francisco Museum of Modern Art, 2013. ISBN 0-300-19177-4.
Selected solo exhibitions
- 1969: The Animals, The Museum of Modern Art, New York.
- 1972: Light Gallery, New York.
- 1975: Women are Beautiful, Light Gallery, New York.
- 1977: Light Gallery, New York.
- 1977: The Cronin Gallery, Houston.
- 1979: The Rodeo, Alan Frumkin Gallery, Chicago.
- 1979: Greece, Light Gallery, New York.
- 1980: University of Colorado, Boulder.
- 1980: Garry Winogrand: Retrospective, Fraenkel Gallery, San Francisco.
- 1980: Galerie de Photographie, Bibliothèque Nationale, Paris.
- 1981: The Burton Gallery of Photographic Art, Toronto.
- 1981: Light Gallery, New York.
- 1983: Big Shots, Photographs of Celebrities, 1960-80, Fraenkel Gallery, San Francisco.
- 1984: Garry Winogrand: A Celebration, Light Gallery, New York.
- 1984: Women are Beautiful, Zabriskie Gallery, New York.
- 1984: Recent Works, Houston Center for Photography, Texas.
- 1985: Williams College Museum of Art, Williamstown, Massachusetts.
- 1986: Little-known Photographs by Garry Winogrand, Fraenkel Gallery, San Francisco.
- 2001: Winogrand's Street theater, Rencontres d'Arles festival, France.
- 2013/2014: Garry Winogrand, San Francisco Museum of Modern Art, San Francisco, March–June 2013[17] and toured; National Gallery of Art, Washington, D.C., March–June 2014;[18] Metropolitan Museum of Art, New York, June–September -2014;[19] Galerie nationale du Jeu de Paume, Paris, October 2014–February 2015.[20]
Selected group exhibitions
- 1955: The Family of Man, The Museum of Modern Art, New York.
- 1957: Seventy Photographers Look at New York, The Museum of Modern Art, New York.
- 1963: Photography '63, The George Eastman House of Photography, Rochester, New York.
- 1964: The Photographer's Eye, The Museum of Modern Art, New York.
- 1967: New Documents, The Museum of Modern Art, New York City with Diane Arbus and Lee Friedlander, curated by John Szarkowski.
- 1969: New Photography USA, Traveling exhibition prepared for the International Program of The Museum of Modern Art, New York.
- 1970: The Descriptive Tradition: Seven Photographers, Boston University, Massachusetts.
- 1971: Seen in Passing, Latent Image Gallery, Houston.
- 1975: 14 American Photographers, The Baltimore Museum of Art, Maryland.
- 1976: The Great American Rodeo, The Fort Worth Art Museum, Texas.
- 1977: Public Relations, The Museum of Modern Art, New York.
- 1978: Mirrors and Windows: American Photography since 1960, The Museum of Modern Art, New York.
- 1981: Garry Winogrand, Larry Clark and Arthur Tress, G. Ray Hawkins Gallery, Los Angeles.
- 1981: Bruce Davidson and Garry Winogrand, Moderna Museet / Fotografiska Museet, Stockholm, Sweden.
- 1981: Central Park Photographs: Lee Friedlander, Tod Papageorge and Garry Winogrand, The Dairy in Central Park, New York, 1980.
- 1983: Masters of the Street: Henri Cartier-Bresson, Josef Koudelka, Robert Frank and Garry Winogrand, University Gallery, University of Massachusetts, Amherst.
References
http://en.wikipedia.org/wiki/Garry_Winogrand
◇ Garry Winogrand | 66 Artworks, Artist Biography | Artsy
https://artsy.net/artist/garry-winogrand
◇ Pace/MacGill Gallery Exhibition Checklist | Garry Winogrand: SIX
http://www.pacemacgill.com/checklist.php?item=129
◇ PHILLIPS : Art Auctions | Contemporary Art | Exhibitions | Private Sales | Private Collections
http://www.phillips.com/search/1/?search=GARRY%20WINOGRAND
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◇ Central Park Zoo, New York City (Getty Museum)
I think part of the aim was to unsettle people's ideas, whether his own or other people's. To move people out of an unquestioning space and to some less settled space in which the authority of rules and structures was broken up a bit.
- Eileen Hale, Garry Winogrand's widow
Garry Winogrand confronted tough issues like racism with a sense of humor, as he did here by photographing this black man and white woman holding apes. The chimpanzees are dressed like children and resemble the human child standing behind the couple. The photographer's close vantage point, the crowd, the dramatic winter light-all add a sense of spectacle.
Winogrand was not simply reacting to a strange moment, but probably also to racial tensions sweeping the country at the height of the Civil Rights movement. The year this picture was made, black actors won Academy Awards, and the U.S. Supreme Court overturned state laws banning interracial marriage. It is not clear whether this man and woman were actually a couple, but Winogrand must have known that their togetherness was as unsettling to some people as their circumstances were comical.
http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=53832
◇ Garry Winogrand | Central Park Zoo, New York City, New York | The Metropolitan Museum of Art
Date: 1967, printed 1974
Medium: Gelatin silver print
Classification: Photographs
Credit Line: Gift of William Berley, 1978
Accession Number: 1978.660.3
Rights and Reproduction: © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco
http://www.metmuseum.org/collection/the-collection-online/search/262314
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◇ Camera Works: Photo Essay (washingtonpost.com)
Garry Winogrand: Huge Influence, Early Exit
By Frank Van Riper
Special to Camera Works
In 1984, Garry Winogrand, one of the greatest documentary photographers of his era, died early and under-appreciated.
The 1964 photographs are the result of Winogrand's cross-country Guggenheim-funded odyssey in a battered 1957 Ford Fairlane, given to him by his friend Lee Friedlander. "This is Garry Winogrand's America book," Stack says in her afterword to Winogrand 1964. And, indeed, Winogrand set off on his journey mindful that he had huge photographic shoes to fill. Years earlier, Walker Evans had given the world American Photographs and the Swiss-born Robert Frank had raised the bar even further with his seminal book, The Americans.
The timing of Winogrand's trip was auspicious – at least in terms of the angst and ennui of the era in which he photographed. Winogrand applied for his grant in the early 60s, at the height of the Cuban missile crisis, when nuclear war suddenly had become a terrifying possibility. In his grant application Winogrand complained that the mass media "all deal in illusions and fantasies. I can only conclude that we have lost ourselves and that the bomb may finish the job permanently, and it just doesn't matter, we have not loved life.
I cannot accept my conclusions, and so I must continue this photographic investigation further and deeper. This is my project."
By the time Winogrand received his grant, John F. Kennedy had been assassinated, stripping away even further the country's innocence and its sense of invulnerability.
Thus, a street-smart Jewish kid from the Bronx, who considered himself whole only when he held a Leica to his eye, hit the road, savoring and reflecting life through his lens.
"It's as though his life in photography really took hold in that slow car headed west," Wilner writes.
http://www.washingtonpost.com/wp-srv/photo/essays/vanRiper/030131.htm
◇ The Work of Garry Winogrand
The Work of Garry Winogrand
John Szarkowski
Winogrand spoke of the Cuban missile crisis of 1962 as a crucial episode in his life. During the days and nights when the issue remained in doubt he walked the streets, in despair out of fear for the life of his family and himself and his city, and from his own impotence to affect the outcome. Finally it came to him that he was nothing—powerless, insignificant, helpless—and that knowledge, he said, liberated him. He was nothing, so he was free to lead his own life. It is at this point that Winogrand's political activities ceased. His earlier involvement with the Young Democratic Club and the American Society of Magazine Photographers was dropped.15 For the rest of his life he apparently belonged to no organizations, and he declined to vote.
In 1962 Winogrand was also facing the dissolution of his marriage. To all appearances he was a comfortably secularized Jew and an unquestioning agnostic—a man not quite interested enough in the issue to be a convinced atheist. Nevertheless, the important ethical strictures had retained much of their force. Winogrand told Papageorge that in his family, divorce was not a recognized option, and it had not been for him, until the failure of his marriage could no longer be denied. Winogrand and Adrienne separated for the last time in 1963, but their divorce did not become final until 1966. Both the loss of his wife and the loss of his marriage were profound defeats for Winogrand. Perhaps, like the missile crisis, they were also liberating.
Late in his life, when his confidence as a teacher had grown more secure, and as he was less in need of the modest fees supplied by workshops and one-night stands of show-and-tell, his style at the lectern became more relaxed; his answers to naive questions were less curt and combative, and were on occasion generous and open, within the limits of his fierce pride. But to the end of his life he could be coldly contemptuous of the student who would not distinguish the art from the artist:
Q: Why do you make art?
A: It's a way of living. It's a way of passing through the time.
Q: Then I can't really take your images seriously.
A: Look, so you like a lot of rhetoric. All there is is the pictures. I'm irrelevant to the pictures. You have a lot to learn, young man. The artist is irrelevant once the work exists
http://www.igorsmirnoff.com/_talk/00000029.htm
◇ Discovering New Old Garry Winogrand Photographs - NYTimes.com
Discovering New Old Garry Winogrand Photographs
By STACEY BAKER APRIL 22, 2012 3:00 PMApril 22, 2012 3:00 pm
http://6thfloor.blogs.nytimes.com/2012/04/22/discovering-new-old-garry-winogrand-photographs/
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◇ Revisiting Some Well-Eyed Streets - NYTimes.com
Garry Winogrand, about 1967-68.COURTESY EILEEN ADELE HALE
