Posts Tagged ‘Garry Winogrand Centennial Ball Metropolitan Museum

03
Jun
18

Review: ‘Diane Arbus: American Portraits’ at the Heide Museum of Modern Art, Melbourne

Exhibition dates: 21st March – 17th June 2018

Curator at Heide: Anne O’Hehir

 

Diane Arbus. 'Xmas tree in a living room in Levittown, L.I. 1963' 1963

 

Diane Arbus (1923-71)
Xmas tree in a living room in Levittown, L.I. 1963
1963
Silver gelatin print

 

Diane Arbus (1923-71) 'Xmas tree in a living room in Levittown, L.I. 1963' 1963

 

Diane Arbus (1923-71)
Xmas tree in a living room in Levittown, L.I. 1963 (installation view)
1963
Silver gelatin print
National Gallery of Australia, Canberra
Purchased 1981

 

 

The power of intention

If I had to nominate one photographer who is my favourite of all time, it would be Diane Arbus. There is just something about her photographs that impinge on my consciousness, my love of difference in human beings, their subversiveness and diversity. She pictures it all, some with irony, some with love, some with outright contempt, but always with interest. In photographs of dwarfs you don’t get the majesty and beauty that Susan Sontag desired, you get something else instead: the closeness of intention and effect – this is who this person was at that particular moment represented in a photograph, the essence of their being at that particular time.

Arbus was fascinated by the relationships between the psychological and the physical, probing her subjects with the camera to elicit a physical response. Her sensory, emotional, intellectual and aesthetic intelligence creates a single experience in relation to subject, stimulating her to respond to the world in her own unique way. While Arbus may well have hated aspects of American culture – “Its hypocrisy, this ‘happy happy’ story after the war, the consumerism, the racism, she feels deeply about that,” as Anne O’Hehir, curator of the National Gallery of Australia’s American Portraits observes – she photographed everything that makes us human in profound and powerful photographs. To me, her subjects were not ‘caught off guard’ nor did they unintentionally reveal aspects of themselves – they revealed themselves to Arbus just as they are, because she gained their trust, she had empathy for who they were… an empathy that probably flowed both ways, enhanced by the subjects sense of Arbus’ own personal travails.

It is unfortunate then, that this exhibition at Heide Museum of Modern Art is such a disappointment. This has nothing to do with the wonderful installation by the Heide curatorial team in the beautiful gallery spaces, but in the prints themselves and the artists that accompany Arbus’ work. Let’s look at the prints first.

According to an article by Louise Maher on the ABC News website in 2016, “The collection is one of the largest public holdings of her work outside New York and, according to NGA curator of photography Anne O’Hehir, one of the most impressive in the world. “The gallery was buying a huge amount of work in 1980 and ’81 leading up to the opening of the gallery in 1982,” Ms O’Hehir said. “We were offered in two lots these extraordinary photographs – they were the first release of prints from the Arbus estate and they were expensive at the time.”

These vintage prints are by the hand of Arbus, not later printings by other people, and as such should be as close a rendition to what Arbus intended the work to look like as can be found. The exhibition text notes that, “All the same, she was very clear about how she wanted her images to look; she worked hard to achieve a particular quality in her prints, which have a distinct feel and appearance that are quite different from other photographs of the 1960s … She reminds us consistently through a number of careful and deliberate strategies that we are looking at a photograph that has been made by a particular person.”

Through these strategies Arbus sought to differentiate her prints from the West Coast Ansel Adams Zone system of printing which was prevalent at the time. The Zone System would have been the antithesis of what Arbus wanted from her photographs. Every popular magazine at that time would have had Zone System stuff… so Arbus didn’t dare align herself with that school. But truth be told, if these prints are the best that she could do as a printer, then they are not very good. As can be seen from the installation photographs in this posting (not the media photographs), some of the prints are so dark as to be beyond comparison to the clarity of the prints that were later produced by her daughter Doon Arbus for the Arbus estate and for reproduction in books. You only have to look at the installation photograph of Xmas tree in a living room in Levittown, L.I. 1963 (above) and another reproduction of this image to see how dark the National Gallery of Australia’s prints are. If you take time to actually look at the photographs one of the prints, Identical twins, Roselle, N.J., 1966 (1966, below) was barely in focus under the enlarger when developed, and several others have not been fixed properly. They may have been first release, but how far down the release were they? We don’t know whether these were the top shelf prints, or tenth in the stack. I know from personal experience that I have a numbering system from one to ten. You sell the best print and so number two then becomes number one, and so on.

The poorness of these prints again becomes a sign of intention. The print is the final, luminous rendition of a photographers previsualisation, the ultimate expression of their creativity. This is how I want to show you the world, through this photograph. It is the end point of a long process. I believe strongly that Arbus wanted to show things as clearly as possible, as clearly as the best possible use that photography could provide. She is like a razor the way she cuts through. But in these particular final renditions, she lets herself down. And the people who bought these photographs, should have realised what poor prints they were.

Turning to the artists that accompany the work of Arbus… was it really necessary to surround such a powerful artist’s work with such noise? While it is always a delight to see the work of Mary Ellen Mark, William Eggleston, Milton Rogovin, Lee Friedlander, Garry Winogrand, Lisette Model, Walker Evans, Weegee and William Klein, to try and embed the work of Arbus within a photographic milieu, within a cacophony of imagery that stretches from the 1930s to the 1980s, simply does not work. While Arbus emerges out of the concerns of her era, she is such a powerful presence and force that simply no one compares. She is so different from the organised Evans and or the macabre Weegee, more closely aligned to Model, and certainly by no stretch of the imagination does she influence Eggleston, Friedlander, Winogrand, Mark or Rogovin in any significant way… that these artists works just become filler for this exhibition. If the intention was to situate Arbus’ work in the chronological “flow” of photography then the concept falls between intention and effect. While no artist’s work appears without regard to historical precedent, their work is simply their own and needs its own space to breathe.

What would have been more interesting would have been to position Arbus’ work within an Australian context. Now there’s an idea, since we live in Australia!

Here we go: exhibit Arbus’ prints with 15 prints by Carol Jerrems (Vale Street, Mark and Flappers), 15 prints of the early work of Polixeni Papapetrou (drag queens, Elvis fans, circus performers and wrestlers) and 15 prints of the work of Sue Ford. Four strong women who deal with issues of gender and identity in a forthright manner – not a cacophony of noise (9 artists, 6 of them men) to accompany the work of a genius. Analyse the influence of Arbus on this generation of Australian photographers. Pretty simple. Clean, concise, accessible, relevant to Australia audiences. Then intention would have possibly met effect.

There are highlights to be had within this exhibition, two in particular.

It was a pleasure to see the work of Milton Rogovin. I have always admired his work, and the small, intimate prints from his Lower West Side series (1973-2002) did not disappoint. While Arbus’ portraits are powerful visualisations, front and centre, Rogovin’s working class families are just… present. His social documentary photographs of working class families are almost reticent in their rendition. “His classical portraits, often grouped in diptychs and triptychs, expound narrative in a single image and over time. They compress time intimately… and by that I mean the viewer is engaged in a conversation with the subject, where we can imagine that we live those lives as they do (transcending time), the lives of what Rogovin called “the forgotten ones.” He makes their countenance, their physicality, the hardships they endure, and their narrative, directly and intimately compelling. We are made to feel their plight in the now and the forever. For these photographs are as relevant, if not more so, now as then.”

The other highlight is to see three Arbus photographs that I have never seen before: Old black woman with gnarled hand; Large black family in small shack; and Addie Taylor in her shack, Beaufort, South Carolina (all 1968, installation views below), all three taken with flash. These works were a revelation for their observational intimacy and evocation of a dark place in the existence of the poorest of human beings. The gnarled hand of the old woman lying in a filthy bed with cardboard walls is particularly distressing to say the least. To compare these photographs with Walker Evans’ flash photograph Hudson Street boarding house detail, New York (1931, below) and his naturally aspirated Bedroom, shrimp fisherman’s house, Biloxi, Mississippi (1945, below) in their pristine emptiness is instructive. This ideation, together with Arbus’ photographs relationship to the work of her sometime teacher Lisette Model (particularly her Lower East Side photographs (1939-42); Albert-Alberta, Hubert’s 42nd St Flea Circus, New York (c. 1945) and Woman with Veil, San Francisco (1949) all below) are the zenith of this exhibition, where the intention of embedding Arbus’ photographs in the history of the medium come best to fruition, in effect.

Finally, I must say a big thank you to Heide Museum of Modern Art for allowing me to come out to the gallery to take the installation photographs. Many thanks indeed.

Marcus

.
Many thankx to Heide Museum of Modern Art for allowing me to publish some of the photographs in the posting. Please click on some of the photographs for a larger version of the image.

 

 

“People who met Arbus often said she was incredibly seductive. Immensely curious, she was softly spoken and her ability to connect with and gain the trust of people was legendary. She talked about “the gap between intention and effect”, explaining “it really is totally fantastic that we look like this and you sometimes see that very clearly in a photograph. Something is ironic in the world and it has to do with the fact that what you intend never comes out like you intend it.””

.
Kerrie O’Brien, curator of the National Gallery of Australia’s Diane Arbus: American Portraits

 

“The people in an Arbus photograph are never trivialised; they have certainly a larger-than-life intensity that few other photographers can achieve. While they seem like figures from fairy tales or myth, they are also invested with powerful agency.”

.
Gillian Wearing

 

“When you’re awake enough to question your purpose and ask how to connect to it, you’re being prodded by the power of intention. The very act of questioning why you’re here is an indication that your thoughts are nudging you to reconnect to the field of intention. What’s the source of your thoughts about your purpose? Why do you want to feel purposeful? Why is a sense of purpose considered the highest attribute of a fully functioning person? The source of thought is an infinite reservoir of energy and intelligence.

In a sense, thoughts about your purpose are really your purpose trying to reconnect to you. This infinite reservoir of loving, kind, creative, abundant energy grew out of the originating intelligence, and is stimulating you to express this universal mind in your own unique way.”

.
Dr Wayne Dyer from ‘The Power of Intention’

 

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation views of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne
Photos: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

 

Heide is delighted to host the National Gallery of Australia’s touring exhibition, Diane Arbus: American Portraits.

The photographs of Diane Arbus (1923-71) are among the most widely recognised in the history of photography. Her images stand as powerful allegories of post-war America, and once seen are rarely forgotten. Works such as Identical twins, Roselle, N.J., 1967 and Child with toy hand grenade, in Central Park, New York City have been described as two of ‘the most celebrated images in the history of the medium’.

Featuring 35 of Arbus’s most iconic and confrontational images from 1961-71, this exhibition examines the last decade of Arbus’s life,the period in which her style is in full flight. Her work has polarised viewers who question whether she exploited or empowered her subjects, who were often drawn from society’s margins. ‘The National Gallery of Australia is privileged to hold such an extraordinary collection of work by a photographer of Arbus’s significance,’ said Anne O’Hehir, curator. ‘This collection covers Arbus’s best-known pictures, and also includes images which are rarely seen. This exhibition is a testament to the power of Arbus’s extraordinary vision.’

Arbus’s photographs are exhibited alongside a selection of works by other leading American photographers whose work influenced Arbus, was shown alongside hers in the ’60s, or has been influenced by her. These include famous images by Lisette Model, Walker Evans and Weegee, her contemporaries William Klein, Garry Winogrand, Lee Friedlander and Milton Rogovin as well as a slightly younger generation, work by Mary Ellen Mark and William Eggleston.

Heide Director and CEO Dr Natasha Cica said: ‘Heide is delighted to present this exhibition of the renowned photographer Diane Arbus. Her uncompromising view challenged existing photography conventions in a surprising and enchanting way.’

Press release from Heide Museum of Modern Art

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation views of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne with at left, Weegee’s No title (at a concert in Harlem) c. 1948, National Gallery of Australia, Canberra Purchased 1981 followed by William Klein’s Christmas shoppers, near Macy’s, New York 1954 and Stickball gang, New York 1955
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Weegee (Arthur Fellig) (1899-1968) 'No title (at a concert in Harlem)' c. 1948

 

Weegee (Arthur Fellig) (1899-1968)
No title (at a concert in Harlem)
c. 1948
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation views of William Klein’s Christmas shoppers, near Macy’s, New York 1954 and Stickball gang, New York 1955
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Installation view of William Klein (born April 19, 1928) 'Christmas shoppers, near Macy's, New York' 1954

 

Installation view of William Klein’s Christmas shoppers, near Macy’s, New York 1954 National Gallery of Australia, Canberra Purchased 1993
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

William Klein (born April 19, 1928) 'Christmas shoppers, near Macy's, New York' 1954

 

William Klein (born April 19, 1928)
Christmas shoppers, near Macy’s, New York
1954
Gelatin silver photograph

 

 

Klein sandwiched his relatively short photographic career, working as a fashion photographer for Vogue, between being a painter and a filmmaker. Self-taught, he experimented with flash, wide-angle lenses, blurring, abstraction and accidents, and produced grainy, high contrast prints. He is deliberately at the other end of the spectrum from the invisible, disinterested photographer. Klein deliberately got really close to his subjects, in their faces, and caught them reacting to being photographed on the street. ‘To be visible, intervene and show it’ was his mantra.

Text © National Gallery of Australia, Canberra

 

Installation view of William Klein's 'Stickball gang, New York' 1955

 

Installation view of William Klein’s Stickball gang, New York 1955 National Gallery of Australia, Canberra Purchased 1993
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

William Klein (born April 19, 1928) 'Stickball gang, New York' 1955

 

William Klein (born April 19, 1928)
Stickball gang, New York
1955
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne with at right, Weegee’s No title (at a concert in Harlem) c. 1948, National Gallery of Australia, Canberra Purchased 1981 and at left, his No title (listening to Frank Sinatra, Palace theatre) c. 1944, National Gallery of Australia, Canberra Purchased 1981
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne with at right, Weegee’s No title (at a concert in Harlem) c. 1948, followed by his No title (listening to Frank Sinatra, Palace theatre) c. 1944 and Emmett Kelly, Ringling Brothers and Barnum & Bailey Circus 1943
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Weegee (Arthur Fellig) (1899-1968) 'Emmett Kelly, Ringling Brothers and Barnum & Bailey Circus' 1943 (installation view)

 

Installation view of Weegee’s Emmett Kelly, Ringling Brothers and Barnum & Bailey Circus 1943, National Gallery of Australia, Canberra Purchased 1981
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Weegee (Arthur Fellig) (1899-1968) 'No title (listening to Frank Sinatra, Palace theatre)' c. 1944

 

Weegee (Arthur Fellig) (1899-1968)
No title (listening to Frank Sinatra, Palace theatre)
c. 1944
Silver gelatin print

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Walker Evans
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’ Rocks on wheels, Disneyland, Cal 1962; Xmas tree in a living room in Levittown, L.I. 1963; and Lady in a rooming house parlour, Albion, N.Y. 1963, all National Gallery of Australia, Canberra Purchased 1981
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'Rocks on wheels, Disneyland, Cal' 1962

 

Diane Arbus (1923-71)
Rocks on wheels, Disneyland, Cal
1962
Silver gelatin print

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing at left, Diane Arbus’ Muscle Man in his dressing room with trophy, Brooklyn, N.Y. 1962 and at right, Burlesque comedienne in her dressing room, Atlantic City, N.J. 1963, both National Gallery of Australia, Canberra Purchased 1981 and 1980
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'Muscle Man in his dressing room with trophy, Brooklyn, N.Y.' 1962

 

Diane Arbus (1923-71)
Muscle Man in his dressing room with trophy, Brooklyn, N.Y.
1962
Silver gelatin print

 

Diane Arbus (1923-71) 'Two Ladies at the Automat, New York City, 1966' 1966 (installation view)

 

Diane Arbus (1923-71)
Two Ladies at the Automat, New York City, 1966 (installation view)
1966
Silver gelatin print
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Transvestite with torn stocking, N.Y.C. 1966' 1966 (installation view)

 

Diane Arbus (1923-71)
Transvestite with torn stocking, N.Y.C. 1966 (installation view)
1966
Silver gelatin print
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Mae West on bed' 1965

 

Diane Arbus (1923-71)
Mae West on bed
1965
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Teenage couple on Hudson Street, N.Y.C. 1963' 1963 (installation view)

 

Diane Arbus (1923-71)
Teenage couple on Hudson Street, N.Y.C. 1963 (installation view)
1963
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'Teenage couple on Hudson Street, N.Y.C. 1963' 1963 (installation view)

 

Diane Arbus (1923-71)
Teenage couple on Hudson Street, N.Y.C. 1963 (installation view)
1963
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'Teenage couple on Hudson Street, N.Y.C. 1963' 1963

 

Diane Arbus (1923-71)
Teenage couple on Hudson Street, N.Y.C. 1963
1963
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’A Jewish giant at home with his parents in the Bronx, N.Y., 1970;Untitled (1) 1970-71; and Woman with a beehive hairdo 1965; and Mexican dwarf in his hotel room N.Y.C. 1970
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'A Jewish giant at home with his parents in the Bronx, N.Y., 1970' 1970

 

Diane Arbus (1923-71)
A Jewish giant at home with his parents in the Bronx, N.Y., 1970
1970
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Untitled (1)' 1970-71

 

Diane Arbus (1923-71)
Untitled (1)
1970-71
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Mexican dwarf in his hotel room N.Y.C. 1970' 1970

 

Diane Arbus (1923-71)
Mexican dwarf in his hotel room N.Y.C. 1970
1970
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Identical twins, Roselle, N.J., 1966' 1966

 

Diane Arbus (1923-71)
Identical twins, Roselle, N.J., 1966
1966
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’ Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967; A young man in curlers at home on West 20th St., N.Y.C. 1966; and A Family on Their Lawn One Sunday in Westchester, New York 1968
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967' 1967

 

Diane Arbus (1923-71)
Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967
1967
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'A young man in curlers at home on West 20th St., N.Y.C. 1966' 1966 (installation view)

 

Diane Arbus (1923-71)
A young man in curlers at home on West 20th St., N.Y.C. 1966 (installation view)
1966
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'A young man in curlers at home on West 20th St., N.Y.C. 1966' 1966

 

Diane Arbus (1923-71)
A young man in curlers at home on West 20th St., N.Y.C. 1966 (installation view)
1966
Gelatin silver photograph

 

Diane Arbus (1923-71) 'A Family on Their Lawn One Sunday in Westchester, New York 1968' 1968

 

Diane Arbus (1923-71)
A Family on Their Lawn One Sunday in Westchester, New York 1968
1968
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’ A young Negro boy, Washington Square Park, N.Y.C. 1965; Blonde girl in Washington Square Park c. 1965-68; Woman with a beehive hairdo 1965; and Girl in a watch cap, N.Y.C. 1965
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'A young Negro boy, Washington Square Park, N.Y.C. 1965' c. 1965

 

Diane Arbus (1923-71)
A young Negro boy, Washington Square Park, N.Y.C. 1965
c. 1965
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’ Woman with a beehive hairdo 1965 and Girl in a watch cap, N.Y.C. 1965
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'Woman with a beehive hairdo' 1965 (installation view)

 

Diane Arbus (1923-71)
Woman with a beehive hairdo (installation view)
1965
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Woman with a beehive hairdo' 1965

 

Diane Arbus (1923-71)
Woman with a beehive hairdo
1965
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Girl in a watch cap, N.Y.C. 1965' 1965

 

Diane Arbus (1923-71)
Girl in a watch cap, N.Y.C. 1965
1965
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Child with toy hand grenade, in Central Park, New York City 1962' 1962

 

Diane Arbus (1923-71)
Child with toy hand grenade, in Central Park, New York City 1962
1962
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'Old black woman with gnarled hand' 1968 (installation view)

 

Diane Arbus (1923-71)
Old black woman with gnarled hand (installation view)
1968
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Large black family in small shack [Robert Evans and his family, 1968]' 1968 (installation view)

 

Diane Arbus (1923-71)
Large black family in small shack [Robert Evans and his family, 1968] (installation view)
1968
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Addie Taylor in her shack, Beaufort, South Carolina' 1968 (installation view)

 

Diane Arbus (1923-71)
Addie Taylor in her shack, Beaufort, South Carolina (installation view)
1968
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'A family of six at a nudist camp' c. 1963 (installation view)

 

Diane Arbus (1923-71)
A family of six at a nudist camp (installation view)
c. 1963
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

 

Introduction

The photographs of Diane Arbus (1923-1971) are powerful allegories of postwar America. Once seen they are rarely forgotten. Contemporary audiences found the way that Arbus approached the genre of portraiture confronting and her work continues to polarise opinion. The images raise difficult, uncomfortable questions concerning the intent of the photographer.

Arbus had a huge curiosity about the society around her; her favourite thing was ‘to go where I’ve never been’. As she was a photographer, this manifested as an obsessive exploration into what it means to photograph and be photographed, and what can happen at that moment of exchange – something elusive and a little bit magical. Whether Arbus is an empathetic champion of the outsider, or an exploitative voyeur, is something that each viewer alone must decide.

The National Gallery of Australia’s collection of Arbus photographs is among the most impressive in the world. The NGA is extremely fortunate to have bought 36 rare, vintage prints in 1980 and 1981, from the earliest releases of prints from the Arbus Estate. These works are from the last decade of the artist’s life, the period in which her recognisable style is in full flight and she was in total control of her medium.

These rare prints are shown alongside photographs by others who also sought to redefine the tradition of portraiture, and whose vision of America is also both challenging and moving. The work of these photographers relates to Arbus in a variety of ways: they are influencers, contemporaries or heirs to aspects of her worldview. Like Arbus, they are keen, singular observers of their worlds, transforming the sometimes banal and ugly into images of unexpected beauty.

 

An uncompromising view of the world

Diane Arbus was born Diane Nemerov, the daughter of wealthy Jewish New Yorkers; her father ran Russek’s, a department store on Fifth Avenue selling furs and women’s clothing. Growing up in an apartment in a towering building on Central Park West, her world was highly protected, one in which she never felt adversity. This was something Arbus resented both at the time and later; it seemed to her to be an unreal experience of the world. At 18 she married her childhood sweetheart, Allan Arbus, and for a decade from the mid 1940s, they ran a successful photography studio doing fashion shots for leading picture magazines.

In 1956 Arbus ceased working with Allan in the studio and began instead to explore subjects of her own choice. She was, apart from the occasional class, essentially self-taught and as she struck out on her own, she undertook a detailed study of the work of other photographers. Compelled to confront that which had been off-limits in her own privileged childhood, she looked to other photographers who had confronted the world head-on, including Weegee, William Klein, Walker Evans and Lisette Model. They recorded, each in their own way, their surroundings with an at-times frightening candour. In their images, Arbus found an uncompromising view of the world, stripped of sentimentality.

Weegee

Weegee turns the banal and seedy underbelly of New York city streets after hours into moments of great psychological drama. A freelance news photographer, he supplied images to the popular press but was also well regarded in art circles. The Museum of Modern Art collected his work and exhibited it in 1943. Arbus owned a number of Weegee’s books and greatly admired his Runyonesque view of the world. She closely studied aspects of his working method as she formulated her own, especially his use of flash. His ‘wild dynamics’ made everyone else ‘look like an academician’, she wrote.

William Klein

Returning to New York in 1954 from his émigré life in Paris, Klein was at once taken aback by what he perceived to be a society pursuing purely materialistic goals, but also excited by the energy he found on the streets. Self-taught, he experimented with flash, wide-angle lenses, blurring and close-ups, abstraction and accidents, and produced grainy, high contrast prints. Klein’s 1956 book, Life is Good & Good for You in New York: Trance Witness Revels, a copy of which Arbus owned, gave impetus to the emerging genre of street photography through his harsh, uncompromising vision of the city. His work was met, particularly in the United States, with misunderstanding and hostility.

Walker Evans

The writer James Agee travelled to Alabama in America’s South in 1936 to research an article on the plight of tenant farmers for Fortune magazine. He chose photographer Walker Evans to accompany him. The article did not eventuate but a book did, Let us now praise famous men. Both men were unnerved by what they saw: Agee wrote of ‘the nakedness, disadvantage and humiliation of … an undefended and appallingly damaged group of human beings’. And yet in the face of this, Evans made images of insistent frontality and careful symmetrical framing; devoid of cliché or pretention, and suggesting an impartiality. This gave the images a great authenticity and power.

Evans’ oeuvre is essentially concerned with how photography represents the world. His significance in the development of twentieth-century photography was reappraised during the 1960s, largely through the largesse of John Szarkowski, the head of the Museum of Modern Art’s photography department at the time. Szarkowski argued that the foundations for many of the key aesthetic and formal tendencies of 1960s photography rested in Evans’ work. The catalogue that accompanied his 1938 exhibition American photographs, in particular, had a huge impact on the new generation of photographers, and on Arbus in particular. She met Evans in 1961 and visited him regularly at his New York home throughout the decade. He wrote in support of her 1963 Guggenheim Grant application.

Lisette Model

Lisette Model’s satirical portraits of the rich on the French Riviera and the photographs she made in the 1940s of the Lower East Side’s poor and marginalised bear out the fact that she took her own advice: ‘Don’t shoot ’till the subject hits you in the pit of your stomach’. By the 1950s she had largely turned to teaching and her influence on Arbus, who took a number of her classes at the New School in 1956 and again in 1957-58, was profound. Model encouraged Arbus to pursue her own distinctive voice. Model recalled, ‘One day I said to her, and I think this was very crucial, “originality means coming from the source…” And from then on, Diane was sitting there and – I’ve never in my life seen anybody – not listening to me but suddenly listening to herself through what was said.’

 

The gap between intention and effect

Prior to 1962 Arbus worked primarily with a 35mm Nikon camera. Her images at this time were often about gesture, with grainy images and subjects frequently shown in movement. In 1962 Arbus switched to a 2 ¼ inch medium-format, twin-lens Rolleiflex (later a Mamiyaflex), which she used with a flash and which when printed full-frame, gave the photographs a square format. The pictures she took with these cameras are deceptively, deliberately simple. Compositionally they are often masterful with repetitions of shapes and minutely observed, subtly presented details. Despite the confronting subject matter, her images have a classical stillness, an insistent frontality that she borrowed from classic documentary photography. To this Arbus adds a very deliberate use of the snap-shot aesthetic, with slightly tilted picture planes and people caught unawares, to signal the authenticity of her connection with the subject.

Arbus developed a working method and style that offered what amounts to a critique of the photographic portrait. There is a palpable tension in the way she presents her subjects, a complicity in the image-making process which rubs up against the fact that her subjects seem caught off-guard, unintentionally revealing aspects of themselves. Arbus identified this as ‘the gap between intention and effect’, explaining that ‘it really is totally fantastic that we look like this and you sometimes see that very clearly in a photograph. Something is ironic in the world and it has to do with the fact that what you intend never comes out like you intend it’. Arbus’s ability to connect with and gain the trust of people is legendary. Fellow photographer Joel Meyerowitz felt that she was ‘an emissary from the world of feeling. She cared about these people. They felt that and gave her their secret’.

 

The aristocrats

As a student at the alternative Fieldston Ethical Culture School in the Bronx, Arbus developed a fascination with myths, ritual and public spectacle. This preoccupation remained steadfast throughout her life. For example, in 1963 she was awarded a prestigious Guggenheim Fellowship to document ‘American rites, manners and customs’. Arbus had an almost insatiable curiosity and fascination with the world and she sought to make photographs that addressed fundamental aspects of our humanity in the broadest terms. It was the photographer Lisette Model, with whom she studied in the late 1950s, who made her realise that, in a seemingly contradictory way, the more specific a photograph of something was, the more general its message became.

To this extent, it is notable that Arbus’s photographs rarely address the issues of the day in any overt and obvious way. While there are exceptions – for example, her work for magazines from the sixties, including portraits of celebrities and documentary work examining the plight of the poor in South Carolina – for the most part Arbus used the camera as a licence to enter the specifics of other people’s lives.

She was particularly drawn to marginalised people, who for whatever reason had fallen out of a conventional place in society and were forced (those born into disability) or chose (the nudists, for example) to construct their own identity. To find them, she frequented sideshow alleys and Hubert’s Freak Museum at Broadway and 42nd Street, joined nudist camps in New Jersey and Pennsylvania, and visited seedy hotels; she also found them in public spaces, in streets and parks where social rules were often arbitrarily imposed and discarded.

Arbus’s subjects are often seen to play with society’s roles and restrictions. She classified these people as ‘aristocrats’, having achieved a certain freedom from social constraints, and they made her feel a mix of shame and awe.

 

The prints

Arbus stated that, for her, ‘the subject of the picture is more important than the picture’. There is no doubt that the emotional authenticity of what she photographed was of upmost importance. In keeping with this, she often undersold her skill as a photographer; she often complained of technical difficulties, and others frequently observed that she seemed weighed down by her equipment. In downplaying her relationship to the technical aspects of her work, Arbus sought to emphasise instead her rapport with her subjects. All the same, she was very clear about how she wanted her images to look; she worked hard to achieve a particular quality in her prints, which have a distinct feel and appearance that are quite different from other photographs of the 1960s.

From the mid 1960s, Arbus worked hard to emphasise the photographic-ness of her pictures. She modified the negative tray on her Omega ‘D’ enlarger, which produced the distinctive black border around her images; later again, she used strips of cardboard down the sides of the negatives to blur the edges of her images. Both of these techniques meant that each of her prints is slightly, wonderfully unique. And there is often, as in the cases of Woman with a beehive hairdo and Girl in a watch cap, both made in 1965, damage (tears and marks) on the negative that Arbus has made no effort to minimise or disguise. Close viewing of the collection of photographs held at the NGA reveal ghostly traces of the hand of Arbus. She reminds us consistently through a number of careful and deliberate strategies that we are looking at a photograph that has been made by a particular person.

 

To know life

Arbus was not alone in photographing the social landscape of America in the 1960s. Others, including Garry Winogrand, Lee Friedlander and Milton Rogovin, similarly took to the country’s streets. Rogovin’s life work was to photograph people from poor minority groups, much of his work being made in Buffalo, New York, where he himself lived. Like Arbus, he often knew and befriended his subjects, returning to photograph them over many years, collaborating with them to create images of great dignity and integrity.

Like Arbus, Winogrand and Friedlander were included in the landmark 1967 exhibition New documents, curated by John Szarkowski for the Museum of Modern Art, New York. This was the only major showing of Arbus’s work during her lifetime. While acknowledging that each of the artists in the exhibition had their own distinct styles, Szarkowski characterised them as part of a generation that used the documentary tradition ‘to more personal ends.’ As he wrote: ‘Their aim has been not to reform life, but to know it. Their work betrays a sympathy – almost an affection – for the imperfections and frailties of society’.

An essential aspect of their innovation was the way they positioned photography and the acts of taking and viewing a photograph as an essential aspect of the work. Their photographs were not intended simply as windows to the world. As Winogrand noted when asked how he felt about missing photographs while he reloaded his camera, ‘there are no photographs while I’m reloading’. Winogrand, Friedlander and Arbus were fascinated by how the real was translated into the language of photography, and how the experience of the photograph involves a fascinating, multilayered three-way interaction between the photographer, the subject and the viewer.

Garry Winogrand

Winogrand restlessly prowled the same streets of New York as Arbus in the 1960s, working stealthily, capturing people without their knowledge. His viewpoint, one he asks the viewer to join, is unashamedly, unapologetically voyeuristic. He used a Leica M4 with a wide-angle lens and tipped the picture plane, giving his compositions a particular feel. Traumatised by the fraught political tensions of the cold war period, anxiety found its way into the imagery – lending his work an edge that makes for a compelling reading of an alienated and fearful society in the throes of change. His city is a site of unexpected confrontations and strange, witty juxtapositions. Fellow photographer Joel Meyerowitz remarked that Winogrand ‘set a tempo on the street so strong that it was impossible not to follow it. It was like jazz. You just had to get in the same groove’.

Lee Friedlander

Friedlander’s images are invariably about looking and this includes turning the camera on himself. He often intrudes into his hastily grabbed, ironic studies of the city, through reflection or shadow or a pair of shoes. Thus, the viewer of his photographs is constantly reminded that this is an image of the world that is made by someone, in this case, the photographer Lee Friedlander. The works are laconic, witty and intensely personal: and certainly the self-portraits are rarely flattering. Coming at the end of a decade in which a particular, new brand of art photographer had begun to achieve celebrity status, through the efforts of curators like John Szarkowski at the Museum of Modern Art, Friedlander’s self-portraits can also be seen as a shrewd send-up of fame.

Milton Rogovin

Originally trained as an optometrist, Rogovin began his career as a social documentary photographer in 1958, recording gospel services held in ‘store-front’ churches in the African-American neighbourhood of Buffalo, New York. Profoundly influenced as a young man by the impact of the Great Depression, Rogovin reflected that, ‘I could no longer be indifferent to the problems of the people, especially the poor, the forgotten ones’. He worked in collaboration with his subjects, who were always allowed to determine how they should be photographed. His photographs focus on family life, the celebrations and events that bind a community together, and the particulars of an individual’s existence.

 

The Arbus legacy

Arbus occupies an important place in the development of American photography. Her work has indelibly influenced the way that the documentary tradition has continued to evolve over the last 50 years, with many of the leading contemporary photographers, such as William Eggleston and Mary Ellen Mark, continuing to rethink the tradition, looking back to Arbus just as she looked back to her predecessors. Although it has often infuriated, and continues to do so, those who take issue with the way Arbus photographed the world, her impact on audiences and photographers alike is incontestable.

William Eggleston

While Arbus used the snap-shot aesthetic in her work to increase its aura of authenticity and immediacy, when Eggleston employed the same technique in colour without the abstraction and artistic mediation of black-and-white, contemporary audiences reacted with confusion. Careful observation of the images though reveals a masterful eye, and a sophisticated understanding of the way photography transforms the world. Eggleston’s images are at once monumental and mundane, ordinary and strange, prosaic and poetic. The result is luminous, breathtaking and perfectly banal.

Mary Ellen Mark

The photojournalist Mary Ellen Mark built a career photographing those on the fringes of society, seeking out those who she felt displayed what she described as attitude and often working on projects over many years, slowly earning trust. Her commitment was to give the people she photographed a unique voice, an individuality. Commenting on a body of work, Mark spoke of her desire to let her subjects ‘make contact with the outside world by letting them reach out and present themselves. I didn’t want to use them. I wanted them to use me’.

Mark spent months photographing the New York bar scene at night. This work formed the basis of her first one person exhibition, at the Photographers’ Gallery in London. She reflected at the time, ‘I would like to have the means to travel the whole country and show what America is through its bars. Millions of people who do not want or can not stay at home. The majority of clients are loners, which is why it is extremely difficult to work in these places. I had to make myself accepted’.

Text from the National Gallery of Australia website

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing at left, Lisette Model’s Coney Island Bather, New York 1939-41 and at right, Woman with Veil, San Francisco 1949
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Lisette Model (1901-1983) 'Coney Island Bather, New York' [Baigneuse, Coney Island] c. 1939-1941

 

Lisette Model (1901-1983)
Coney Island Bather, New York [Baigneuse, Coney Island]
c. 1939-1941
Silver gelatin print
National Gallery of Australia, Canberra

 

Lisette Model (1901-1983) 'Woman with Veil, San Francisco' 1949

 

Lisette Model (1901-1983)
Woman with Veil, San Francisco
1949
Silver gelatin print
National Gallery of Australia, Canberra
Purchased 1978

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing at left, Lisette Model’s Lower East Side, New York
1942 and at right,Lower East Side, New York 1939-42
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Lisette Model (1901-1983) 'Lower East Side, New York' 1942

 

Lisette Model (1901-1983)
Lower East Side, New York
1942
Gelatin silver photograph
49.2 h x 39.5 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

Lisette Model (1901-1983) 'Lower East Side, New York' 1939-42

 

Lisette Model (1901-1983)
Lower East Side, New York
1939-42
Gelatin silver photograph
48.9 h x 38.9 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Lisette Model’s Fashion show, Hotel Pierre, New York City 1940-46; Cafe Metropole, New York City c. 1946; and Albert-Alberta, Hubert’s 42nd St Flea Circus, New York [Albert/Alberta] c. 1945
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Lisette Model (1901-1983) 'Fashion show, Hotel Pierre, New York City' 1940-46

 

Lisette Model (1901-1983)
Fashion show, Hotel Pierre, New York City
1940-46
Gelatin silver photograph
40.0 h x 49.6 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

Lisette Model (1901-1983) 'Cafe Metropole, New York City' c. 1946

 

Lisette Model (1901-1983)
Cafe Metropole, New York City
c. 1946
Gelatin silver photograph
49.5 h x 40.0 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

 

While training as a musician in Vienna, Lisette Model studied under the avant-garde composer Arnold Schoenberg, who introduced her to the Expressionist painters of the early 20th century. Influenced by European modernist philosophy and aesthetics, Model abandoned music in Paris in 1933, taking up painting and then photography. She gained initial renown for a series of photographs of men and women lounging in deck chairs along the Promenade des Anglais in the south of France. In 1938, she relocated to New York with her husband (the artist Evsa Model), where she took photographs of exuberant characters on the streets of New York – catching reflections of individuals in store windows and images of feet in motion and holidaymakers around Coney Island. Model taught at the New School where one of her most famous students was Diane Arbus, and was published by Harper’s Bazaar and other magazines.

Text from the Artsy website

 

Lisette Model (1901-1983) 'Albert-Alberta, Hubert's 42nd St Flea Circus, New York' c. 1945

 

Lisette Model (1901-1983)
Albert-Alberta, Hubert’s 42nd St Flea Circus, New York [Albert/Alberta]
c. 1945
Gelatin silver photograph
49.5 h x 39.7 w cm
National Gallery of Australia, Canberra
Purchased 1981

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing work from Mary Ellen Mark’s The bar series 1977
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Mary Ellen Mark (1940-2015) 'Untitled' from 'The bar series' 1977

 

Mary Ellen Mark (1940-2015)
Untitled from The bar series
1977
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, William Eggleston’s Huntsville, Alabama c. 1971; Memphis c. 1969; and Greenwood, Mississippi “The Red Ceiling” 1973
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

William Eggleston (America,born July 27, 1939) 'Huntsville, Alabama' c. 1971

 

William Eggleston (American, born July 27, 1939)
Huntsville, Alabama
c. 1971
Dye transfer colour photograph
46.6 h x 32.4 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

William Eggleston (America, born July 27, 1939) 'Memphis' c. 1970 printed 1980

 

William Eggleston (American, born July 27, 1939)
Memphis
c. 1970 printed 1980
Dye transfer colour photograph
30.2 h x 44.2 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

William Eggleston (America,born July 27, 1939) 'Greenwood, Mississippi' ["The Red Ceiling"] 1973, printed 1979

 

William Eggleston (American, born July 27, 1939)
Greenwood, Mississippi [“The Red Ceiling”]
1973, printed 1979
Dye transfer colour photograph
29.5 h x 45.4 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

 

With its intense red, Eggleston’s picture of the spare room in a friend’s home is one of the most iconic of all colour photographs. Often called The red room, this photograph was intended to be shocking: Eggleston described the effect of the colour as like ‘red blood that is wet on the wall’. But the radicalness of the picture is not just in its juicy (and impossible to reproduce) redness; it is also found in the strange view it provides of a domestic interior, one that Eggleston has described as a ‘fly’s eye view’.

Text © National Gallery of Australia, Canberra

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation views of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Garry Winogrand
Photos: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Garry Winogrand (1928-1984) 'No title [Centennial Ball, Metropolitan Museum, New York]' 1969

 

Garry Winogrand (1928-1984)
No title [Centennial Ball, Metropolitan Museum, New York]
1969
Gelatin silver photograph
27.2 h x 42.0 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

Garry Winogrand (1928-1984) 'New York City, New York'. From "Garry Winogrand" 1970

 

Garry Winogrand (1928-1984)
New York City, New York. From “Garry Winogrand”
1970
Gelatin silver photograph
21.6 h x 32.6 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

 

Winogrand was asked how he felt about missing photographs while he reloaded his camera. He replied ‘There are no photographs while I’m reloading’: There is no possibility in the Winograndian world view of regarding the camera as a window onto the world; it becomes a mirror reflecting back the photographer’s concerns. Winogrand was fascinated by how the real was translated into the photographic. In the end this fascination became an obsession from which he could not escape or find solace – or meaning. At the time of his death there were a third of a million exposures that he had never looked at including 2,500 undeveloped rolls of film.

Text © National Gallery of Australia, Canberra

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Lee Friedlander
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Lee Friedlander (born July 14, 1934) 'Rt. 9w, N.Y.' 1969

 

Lee Friedlander (American, born July 14, 1934)
Rt. 9w, N.Y.
1969
Gelatin silver photograph
18.8 h x 28.2 w cm
National Gallery of Australia, Canberra
Purchased 1981

 

Lee Friedlander (born United States 1934) 'Mount Rushmore' 1969

 

Lee Friedlander (American, born July 14, 1934)
Mount Rushmore
1969
Gelatin silver photograph
18.8 h x 28.0 w cm
National Gallery of Australia, Canberra
Purchased 1981

 

 

“I always wanted to be a photographer. I was fascinated with the materials. But I never dreamed I would be having this much fun. I imagined something much less elusive, much more mundane.” ~ Lee Friedlander

Friedlander is known for his complex, layered images, exploring the way that the urban landscape fragments our vision. Throughout his career he has found endless fascination in photographing reflections in windows – merging what lies behind the glass with what is reflected in it – out of which he has created juxtapositions which are witty and insightful. He often inserts himself into the image, either overtly or more frequently as a shadow or partially concealed form – part of his face, for instance, hidden behind the camera.

In the 1960s he moved away from a recognisably documentary style toward one in which the subject is more elusive, reflecting a society which had itself become more fragmented and complex. By cropping and cutting up city and natural landscapes he changes our perception of them. In creating compositions that are dynamic, unexpected and often confusing, Friedlander asks us to look freshly at our everyday environments.

Text © National Gallery of Australia, Canberra

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Walker Evans
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Walker Evans (1903-1975) 'Hudson Street boarding house detail, New York' 1931

 

Walker Evans (1903-1975)
Hudson Street boarding house detail, New York
1931
Gelatin silver photograph
15.7 h x 20.6 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

Walker Evans (1903-1975) 'Bedroom, shrimp fisherman's house, Biloxi, Mississippi' 1945

 

Walker Evans (1903-1975)
Bedroom, shrimp fisherman’s house, Biloxi, Mississippi
1945
Gelatin silver photograph
23.4 h x 18.3 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

Walker Evans (1903-1975) 'Tenant Farmer's Wife, Alabama' 1936

 

Walker Evans (1903-1975)
Tenant Farmer’s Wife, Alabama
[Allie Mae Burroughs, wife of a cotton sharecropper, Hale County, Alabama]

1936
Gelatin silver photograph
23.6 h x 18.0 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Milton Rogovin with from left to right, Not titled (Family in front of house) – 241-2 1973 and Not titled (Family in front of house) – 142-11 1985, both from the Lower West Side series (1973-2002)
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

 

“Written with her trademark flair and force, Sontag’s book [On Photography] inaugurated a wave of criticism, much of it influenced by Foucaultian theory, that underscored the instrumentality and implicit violence of photography, its ability to police and regulate it subjects, especially those lacking social and political power: the poor, presumed “deviants” or “criminals,” and workers. As Sontag herself acknowledged, however, photography is not only a predatory means of taking possession, but also a mode of conferring value; it can potentially be put to counter-hegemonic uses, used to see and frame in ways that affirm and legitimate, rather than strictly contain and control, the presence of culturally disenfranchised persons.”

“The power of his art stems from the particular manner in which Rogovin transforms traditional portrait photography and documentary practice, opening up potentially instrumentalist, one-sided visual forms to dynamics of reciprocity and mutuality…”

“Rogovin’s photography thus balances the documentary desire to grasp and present, to “capture” an image of the”Other,” with a commitment to holding back in order to allow his subjects space to shape the photographic process. His practice is a form of”approach,” to borrow a term from Carol Shloss, that resists even as it engages. We might call this an aesthetic of “making space”: a photographic method that creates room for subjects to actively participate in the production of their own images rather than stand as passive objects before a colonizing gaze.”

“The fact that Rogovin’s work at once invokes and questions the camera’s capacity to classify – to embed individuals in a larger archive – echoes his challenge to documentary business as usual. Certainly, Rogovin’s images of working people perform a classic documentary task: to lend public visibility to those who have been overlooked and exploited, to give aggrieved people the social recognition they are otherwise denied in our society. However, his images do not enforce the power and prerogatives of middle-class reformers or governmental institutions, as did so much early twentieth-century documentary photography, which, as Maren Stange has argued, tended to reassure “a 11 liberal middle-class that social oversight was both its duty and its right.” By refusing to provide pity-inducing images of working people that present them as weak and vulnerable, Rogovin’s photographs undercut the sense of privilege viewers often feel when looking at pictures of what Jacob Riis called “the other half.””

Joseph Entin. “Milton Rogovin’s Approach: Photography, Class, and the Aesthetics of Making Space (2008),” on the ASX website July 12, 2010 [Online] Cited 12/05/2018

 

 

Heide Museum of Modern Art
7, Templestowe Road
Bulleen, Victoria 3105

Opening hours:
(Heide II and Heide III)
Tue – Fri 10.00 am – 5.00 pm
Sat/Sun/Public Holidays 12.00 noon – 5.00 pm

Heide Museum of Modern Art website

LIKE ART BLART ON FACEBOOK

Back to top

06
Nov
13

Exhibition: ‘Winogrand’s Women Are Beautiful’ at the Worcester Art Museum, Worcester, MA

Exhibition dates: 10th August – 10th November 2013

.

As people may know, I am not a great fan of the photography of Garry Winogrand. Wile other people rave over this “master” of street snapshot photography, his work has never won me over, and possibly never will. There is something a little… what’s the word… creepy? voyeuristic? plain downright predatory about his photography. All the oblique angles in the world aren’t going to change my opinion.

For me, this series represents the pinnacle of Winogrand’s photography. The affection of the photographer toward the subject is clearly evident, coupled with a stealthy hunting instinct. It’s almost as if he is stalking these women to peer up their skirts (as in Woman in a Telephone Booth, New York, about 1972, below). The scenario is pretty unedifying. There are odd moments of joy (such as is in Woman Laughing, New York 1968, below) and beauty, as in the rightly famous Centennial Ball, Metropolitan Museum, New York (1969, below).

However, I feel like the human being in Woman Crossing Street, New York (about 1970, below) where the look on her face says that she could just bop him on the nose with a good left hook. And I wouldn’t have blamed her, either.

Marcus

.
Many thankx to the Worcester Art Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

All of the photographs are Gift of the Schorr Family Collection © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

.

Garry Winogrand (American, 1928-1984) 'Untitled (Woman Carrying Bags)' about 1972

.

Garry Winogrand (American, 1928-1984)
Untitled (Woman Carrying Bags)
about 1972
Gelatin silver print
Gift of the Schorr Family Collection, 1984.102
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand (American, 1928-1984) 'Untitled (Woman in a Telephone Booth, New York)' about 1972

.

Garry Winogrand (American, 1928-1984)
Untitled (Woman in a Telephone Booth, New York)
about 1972
Gelatin silver print
Gift of the Schorr Family collection, 1991.280
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand (American, 1928-1984) 'Untitled (Histrionics on a Bench, World’s Fair, New York)' 1964

.

Garry Winogrand (American, 1928-1984)
Untitled (Histrionics on a Bench, World’s Fair, New York)
1964
Gelatin silver print
Gift of the Schorr Family Collection, 1984.115
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand (American, 1928-1984) 'Untitled (Woman Laughing, New York)' 1968

.

Garry Winogrand (American, 1928-1984)
Untitled (Woman Laughing, New York)
1968
Gelatin silver print
Gift of the Schorr Family Collection, 1991.315
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand (American, 1928-1984) 'Untitled (Identically Dressed)' Nd

.

Garry Winogrand (American, 1928-1984)
Untitled (Identically Dressed)
Nd
Gelatin silver print
Gift of the Schorr Family Collection, 1984.116,
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand (American, 1928-1984) 'Untitled (Women Rallying, New York)' about 1972

.

Garry Winogrand (American, 1928-1984)
Untitled (Women Rallying, New York)
about 1972
Gelatin silver print
Gift of the Schorr Family Collection, 1991.293
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

.

“Worcester Art Museum is pleased to announce the photography exhibition, Winogrand’s Women are Beautiful, on view August 10 through November 10, 2013. Worcester Art Museum owns a complete portfolio of the Women are Beautiful series by photographer Garry Winogrand (American, 1928-1984).  68 of the 85 images will be on view. Photographs feature black and white images of young adult women taken primarily during the 1960s and early 1970s.

Hailed as a pioneer of the “snapshot aesthetic” within the genre of documentary photography, Winogrand used a wide-angle Leica M4 camera to produce spontaneous images emphasizing how everyday subjects, like people, dogs, or crowds, interact with the landscape around them. His work features oblique perspectives, often resulting in uniquely composed photographs made by the stealthy eye of a private investigator. However, Winogrand is also routinely criticized for exploiting the subjects of his work, particularly women.

Organized by Assistant Curator of Prints, Drawings and Photographs, Nancy Burns, Winogrand’s Women are Beautiful, presents the photographer’s most popular portfolio through the lens of five varying themes.  These themes seek to promote Winogrand’s significance within the canon of photography, while engaging directly with the censure his works receive from art historians and feminists alike.”

Press release from the Worcester Art Museum

.

Garry Winogrand (American, 1928-1984) 'Untitled (Restaurant Window, Boston)' about 1970

.

Garry Winogrand (American, 1928-1984)
Untitled (Restaurant Window, Boston)
about 1970
Gelatin silver print
Gift of the Schorr Family collection, 1984.112
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand (American, 1928-1984) 'Untitled (Café, Paris)' about 1969

.

Garry Winogrand (American, 1928-1984)
Untitled (Café, Paris)
about 1969
Gelatin silver print
Gift of the Schorr Family Collection, 1984.123
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand (American, 1928-1984) 'Untitled (Cheerleaders, Austin)' 1974

.

Garry Winogrand (American, 1928-1984)
Untitled (Cheerleaders, Austin)
1974
Gelatin silver print
Gift of the Schorr Family Collection, 1991.295,
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

1991.269-WEB

.

Garry Winogrand (American, 1928-1984)
Untitled (Centennial Ball, Metropolitan Museum, New York)
1969
Gelatin silver print
Gift of the Schorr Family collection, 1991.269
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand (American, 1928-1984) 'Untitled (Women Walking Poodles, New York)' about 1959

.

Garry Winogrand (American, 1928-1984)
Untitled (Women Walking Poodles, New York)
about 1959
Gelatin silver print
Gift of the Schorr Family Collection, 1991.260
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand (American, 1928-1984) 'Untitled (Woman Crossing Street, New York)' about 1970

.

Garry Winogrand (American, 1928-1984)
Untitled (Woman Crossing Street, New York)
about 1970
Gelatin silver print
Gift of the Schorr Family collection, 1984.109
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

.

Worcester Art Museum
Fifty-five Salisbury Street
Worcester, MA 01609
T: 508.799.4406

Opening hours:
Wednesday-Friday, Sunday: 11am-5pm
Saturday: 10am-5pm
3rd Thursday of every month: 11am-8pm
Closed Mondays, Tuesdays, and the following holidays: New Year’s, Easter, Independence, Thanksgiving, Christmas

Worcester Art Museum website

LIKE ART BLART ON FACEBOOK

Back to top

28
May
13

Exhibition: ‘Garry Winogrand’ at the San Francisco Museum of Modern Art (SFMOMA)

Exhibition dates: 9th March – 2nd June 2013

.

“Every photograph is a battle of form versus content.”

.
Garry Winogrand

.

.

Playing God with his film

Form and content. Form and content

I don’t like the work of Garry Winogrand. Never have, never will. I think his work is overrated and and somewhat trite. That should stir up all the Winophiles who think that he is one of the best street photographers in the history of the medium!

At best his form is average – technical aspects adequate; composition is pretty basic including dull use of tension points within the picture frame; and framing very bland, tilted angles not withstanding. His content is nothing special either, mainly frontal shots of people walking towards him or voyeuristic shots while mingled in crowds, or a mixture of both. As he himself says, “I don’t have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph.” By letting the medium describe the world around him. And therein lies part of the problem.

Winogrand just looks – and you can’t fault someone for just looking. It’s just a not very interesting looking.

If I really look at Winogrand’s work I can see that he just states what he saw in shot after shot after shot, indiscriminately. Personally, I find there is a real cycnicism in his work. The photographs “describe” his own state of mind – as much as he denies that he (or his state of mind) has anything to do with the act of describing the world through photography. You see, it’s all about how the camera sees the world and not how he sees it. Hence, Winogrand hardly embraces his feelings towards the world and if he does, it is only in a half-hearted manner. For example, he goes a certain way towards the dark (as in the photographs Utah (Wyoming), 1964 and Los Angeles, 1964, both below) and then stops. The other part of the problem is this: what you can also fault is all the hyperbole that is laid over the top of his work by curators and museums – because on close examination the work really doesn’t justify it. It’s actually not that good.

Winogrand states and summarises but doesn’t solve. He just keeps adding to the list occasionally, under duress, ordering it (photographs of women in the book Women are Beautiful, 1975):

“During his Austin years he was preparing two books, ‘Public Relations’ and ‘Women are Beautiful’. Given his method of printing every image on the contact sheet for the selection process, and given his proclivity for the physical act of shooting, no wonder he wasn’t out on the street as much as he’d like. Yes he had to print, select and publish some prints to survive unless he wanted to teach the rest of his life. I don’t believe he wanted to do that. Had there been a way, I believe he would died a blissful death had he been on the streets clicking away and either letting the exposed film rot or letting someone else process and print them, and arrange the books and shows and collect the money. That’s how much he loved the physical act of shooting. 

He felt at home out there, looking for the next image to expose. He was also the boss out there, playing God with his film and deciding where to frame that next battle between form and content, then the next and the next.”1

.
Playing God with his film…

In some ways Winogrand reminds me of both the king and the court jester. King because he could frame the battle between form and content ad infinitum and jester because he was the fool, standing in front of people, laughing, smiling, obsequious, running hither and yon to get every shot, any shot. See the video below to understand what I mean. Unlike the photographs in Robert Frank’s The Americans, his is not a poetic understanding of the world for the difference between Robert Frank and Garry Winogrand is that the former’s photographs are undeniably poetic while the latter’s are prosaic aphorisms about the world. In Winogrand’s “describing” the social landscape he photographed is reduced to lists of things: “the dislocation of urban life, the rise of the suburb with its growing alienation, the skepticism of youth, and the collusion of the press and the powerful,” rarely pursued by any obvious means and certainly not through poetic evocation.

I think that Winogrand struggled with the question – do I add to the list or do I order the list? Obviously he chose the former, for if there is no order in life there can be no order in the archive. Hence we are left with the “Unfinished” Late Work, an archive of 250,000 images that have remained virtually unknown. A boon for researchers and curators wishing to position Winogrand’s legacy “revealing for the first time the full sweep of his career… creating a vivid portrait of the artist.”

Even when the artist could not be bothered (so why should we bother).
Even when the images were never seen or acknowledged.
The artist streetwise in his omnipotent isolation.

.
Dr Marcus Bunyan for the Art Blart blog

.

.

“Great photography is always on the edge of failure.”
.
“I photograph to see what the world looks like in photographs.”
.
“I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing as it is. A photograph must be responsible to both.”
.
“I don’t have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.”

.
Garry Winogrand

.
“We quickly learned Winogrand’s technique – he walked slowly or stood in the middle of pedestrian traffic as people went by. He shot prolifically. I watched him walk a short block and shoot an entire roll without breaking stride. As he reloaded, I asked him if he felt bad about missing pictures when he reloaded. “No,” he replied, “there are no pictures when I reload.” He was constantly looking around, and often would see a situation on the other side of a busy intersection. Ignoring traffic, he would run across the street to get the picture.”

.
Mason Resnick

.
“Form and content are two keys which make a memorable street photograph. Consider “form” as the composition, framing, and technical aspects of a photograph. Consider “content” as what is actually happening in the photograph (whether it be an old couple holding hands, a boy holding two bottles of wine, or a man looking through a peep-hole)… Garry Winogrand shot with a 28mm lens for most of his life [using a Leica M4 35mm and Tri-X film pushed to 1200 ASA], which meant that for the majority of his shots he had to be quite close to his subjects (and in front of them). Therefore Winogrand wasn’t Henri Cartier-Bresson (trying to be invisible) but was actively a part of the action and immersed in the crowds. He would be very obviously taking photographs in the streets and would stick out like a sore thumb.”

.
Eric Kim

.

.

.

.

Garry Winogrand – The Man In The Crowd

.

Garry Winogrand. 'Utah (Wyoming)' 1964

.

Garry Winogrand
Utah (Wyoming)
1964
Silver gelatin photograph
© The Estate of Garry Winogrand

.

Garry Winogrand. 'Fort Worth, Texas' 1974

.

Garry Winogrand
Fort Worth, Texas
1974
Gelatin silver print
Collection SFMOMA, Accessions Committee Fund: gift of Doris and Donald Fisher and Marion E. Greene
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand. 'Fort Worth, Texas' 1975

.

Garry Winogrand
Fort Worth, Texas
1975
Gelatin silver print
Collection SFMOMA, gift of Dr. Paul Getz
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand. 'John F. Kennedy, Democratic National Convention, Los Angeles' 1960

.

Garry Winogrand
John F. Kennedy, Democratic National Convention, Los Angeles
1960
Posthumous digital reproduction from original negative
Garry Winogrand Archive, Center for Creative Photography, University of Arizona
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand. 'Democratic National Convention, Los Angeles' 1960

.

Garry Winogrand
Democratic National Convention, Los Angeles
1960
Silver gelatin photograph
© The Estate of Garry Winogrand

.

Garry Winogrand. 'New York' c. 1960

.

Garry Winogrand
New York
c. 1960
Gelatin silver print
Garry Winogrand Archive, Center for Creative Photography, University of Arizona
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand. 'Elliot Richardson Press Conference, Austin, Texas' 1973

.

Garry Winogrand
Elliot Richardson Press Conference, Austin, Texas
1973
Silver gelatin photograph
© The Estate of Garry Winogrand

.
Elliot Lee Richardson (July 20, 1920 – December 31, 1999) was an American lawyer and politician who was a member of the cabinet of Presidents Richard Nixon and Gerald Ford. As U.S. Attorney General, he was a prominent figure in the Watergate Scandal, and resigned rather than obey President Nixon’s order to fire special prosecutor Archibald Cox. (Text from Wikipedia)

.

Garry Winogrand. 'Centennial Ball, Metropolitan Museum, New York' 1969

.

Garry Winogrand
Centennial Ball, Metropolitan Museum, New York
1969
Silver gelatin photograph
© The Estate of Garry Winogrand

.

Garry Winogrand. 'Point Mugu Naval Air-Station, California' 1979

.

Garry Winogrand
Point Mugu Naval Air-Station, California
1979
Silver gelatin photograph
© The Estate of Garry Winogrand

.

Untitled-1970-gelatin-silver-print-WEB

.

Garry Winogrand
Untitled
1970
Silver gelatin photograph
© The Estate of Garry Winogrand

.

Garry Winogrand. 'Venice Beach, Los Angeles' 1979

.

Garry Winogrand
Venice Beach, Los Angeles
1979
Silver gelatin photograph
© The Estate of Garry Winogrand

.

.

“The first retrospective in 25 years of work by artist Garry Winogrand (1928-1984) – the renowned photographer of New York City and of American life from the 1950s through the early 1980s – will debut at the San Francisco Museum of Modern Art (SFMOMA) from March 9 through June 2, 2013. Jointly organized by SFMOMA and the National Gallery of Art, Washington, D.C., Garry Winogrand brings together the artist’s most iconic images with newly printed photographs from his largely unexamined archive of late work, offering a rigorous overview of Winogrand’s complete working life and revealing for the first time the full sweep of his career. More than 300 photographs in the exhibition and more than 400 in the accompanying catalogue will create a vivid portrait of the artist – a chronicler of postwar America on a par with such figures as Norman Mailer and Robert Rauschenberg who unflinchingly captured America’s wrenching swings between optimism and upheaval in the decades following World War II.

While Winogrand is widely considered one of the greatest photographers of the 20th century, his overall body of work and influence on the field remains incompletely explored. He was enormously prolific but largely postponed the editing and printing of his work. Dying suddenly at the age of 56, he left behind approximately 6,500 rolls of film (some 250,000 images) that he had never seen, as well as proof sheets from his earlier years that he had marked but never printed. Roughly half of the photographs in the exhibition have never been exhibited or published until now; over 100 have never before been printed.

“There exists in photography no other body of work of comparable size or quality that is so editorially unresolved,” says Rubinfien, who was among the youngest of Winogrand’s circle of friends in the 1970s. “This exhibition represents the first effort to comprehensively examine Winogrand’s unfinished work. It also aims to turn the presentation of his work away from topical editing and toward a freer organization that is faithful to his art’s essential spirit, thus enabling a new understanding of his oeuvre, even for those who think they know him.”

The exhibition is divided into three parts, each covering a broad variety of subjects found in Winogrand’s art. “Down from the Bronx” presents photographs taken for the most part in New York from his start in 1950 until 1971; “A Student of America” looks at work made in the same period during journeys outside New York; and “Boom and Bust” addresses Winogrand’s late period – from when he moved away from New York in 1971 until his death in 1984 – with photographs from Texas and Southern California, as well as Chicago, Washington, Miami, and other locations. This third section also includes a small number of photographs Winogrand made on trips back to Manhattan, which express a sense of desolation unprecedented in his earlier work.

Winogrand was known as great talker with a flamboyant, forceful personality, and what he said accompanying his slide shows and lectures was often imaginative and very funny. A number of videos edited for presentation in the exhibition will allow visitors to experience the living Winogrand as audiences have rarely been able to do for 30-odd years. A short selection from Winogrand’s experimental 8mm footage taken in the late 1960s will also be on view.

After premiering at SFMOMA in spring 2013 Garry Winogrand will travel to the National Gallery of Art, Washington, D.C. (March 2 through June 8, 2014); The Metropolitan Museum of Art, New York (June 27 through September 21, 2014); the Jeu de Paume, Paris (October 14, 2014 through January 25, 2015); and the Fundacion MAPFRE, Madrid (March 3 through May 10, 2015).

.
An Epic Chronicler of Postwar America

Born in the Bronx, Winogrand did much of his best-known work in Manhattan during the 1960s, and in both the content of his photographs and his artistic style he became one of the principal voices of that eruptive decade – so much so that influential Museum of Modern Art curator John Szarkowski anointed him “the central photographer of his generation.”

Known primarily as a street photographer, Winogrand, who is often associated with famed contemporaries Diane Arbus and Lee Friedlander, photographed with dazzling energy and incessant appetite, exposing some 20,000 rolls of film in his short lifetime. He photographed business moguls, everyday women on the street, famous actors and athletes, hippies, rodeos, politicians, soldiers, animals in zoos, car culture, airports, and antiwar demonstrators and the construction workers who beat them bloody in view of the unmoved police. Daily life in postwar America – rich with new possibility and yet equally anxious, threatening to spin out of control – seemed to unfold for him in a continuous stream.

Yet if Winogrand was one of New York City’s prime photographers, he was also an avid traveler who roamed widely around the United States, bringing exquisite work out of locations that included Los Angeles, San Francisco, Ohio, Dallas, Houston, Chicago, Colorado, and the open country of the Southwest. “You could say that I am a student of photography,” he said, “and I am; but really I’m a student of America.” Winogrand’s expansive visual catalogue of the nation’s evolving social scene has led to comparisons to Walt Whitman, who also unspooled the world in endless lists of people, places, and things.

Winogrand’s pictures often bulge with twenty or thirty figures, and are fascinating both for their dramatic foregrounds and the sub-events at their edges. Even when crowded with people or at their most lighthearted – he was fond of visual puns and was drawn to the absurd – his pictures can convey a feeling of human isolation, hinting at something darker beneath the veneer of the American dream. Early on, some critics considered his pictures formally “shapeless” and “random,” but admirers and critics later found a unique poetry in his tilted horizons and his love of the haphazard.

“Winogrand was an artistic descendant of Walker Evans and Robert Frank, but differed sharply from them,” says Rubinfien. “He admired Frank’s ‘The Americans’, but felt the work missed the main story of its time, which in his mind was the emergence of suburban prosperity and isolation. The hope and buoyancy of middle-class life in postwar America is half of the emotional heart of Winogrand’s work. The other half is a sense of undoing. The tension between these qualities gives his work its distinct character.”

After serving in the military as a weather forecaster, Winogrand first began working as a photographer while studying painting on the G.I. Bill at Columbia University (1948–51). During that time, he also studied briefly with Alexey Brodovitch at the New School for Social Research. While pursuing his personal work, he began supplying commercial photographs to a number of general-interest magazines such as Life, Look, Sports Illustrated, Collier’s, and Pageant, which were then at the height of their power and reach. His career was further shaped by the decline of those magazines and the rise of a new culture of photography centered in the art world.

“Winogrand worked at a moment when the boundaries between journalistic and artistic photography were less certain than they had ever been, yet it was also a time when the most advanced photographers were consciously abandoning journalistic values,” says Greenough. “The social landscape he photographed – the dislocation of urban life, the rise of the suburb with its growing alienation, the skepticism of youth, and the collusion of the press and the powerful – was of concern to many Americans. Yet Winogrand rarely pursued an obvious means to explicate these ideas, preferring poetic evocation over intelligible journalism.”

Winogrand went on to exhibit widely at prominent museums and achieved renown in his lifetime. Yet despite this recognition, he is perhaps the most inadequately understood of all his contemporaries.

.
“Unfinished” Late Work Thoroughly Investigated for the First Time

The act of taking pictures was far more fulfilling to Winogrand than making prints or editing for books and exhibitions – he often allowed others to perform these tasks for him. Near the end of his life, he spoke of reviewing and reediting all of his photographs, but never had a chance to oversee the shaping of his legacy, or even to review much of the output of his later years. Because of his working methods and his lack of interest in developing his film toward the end of his life, he left behind more than 2,500 rolls of exposed but undeveloped film, an additional 4,100 rolls that he had processed but never seen – an estimated total of 250,000 images that have remained virtually unknown.

Furthermore, Winogrand published just five modest books during his lifetime – The Animals (1969), Women Are Beautiful (1975), Garry Winogrand (1976), Public Relations (1977), and Stock Photographs (1980) – that represent only a fraction of his work and are mainly confined to narrow topical frames that don’t suggest the full scope of his importance.

“One reason that Winogrand is only now receiving the full retrospective treatment already devoted to peers of his era, including Diane Arbus, Lee Friedlander, and Robert Frank, is that any truly comprehensive consideration of his life’s work requires contending with the practical and ethical issues surrounding the vast archive he left behind,” says O’Toole. “In the absence of explicit instructions from him regarding how he wanted his work to be handled after he was gone, its posthumous treatment has been the subject of ongoing debate and raises provocative questions about the creative process and its relationship to issues specific to the medium.”

“Some argue that what was left behind should be left alone, and that no one should intrude upon the intentions of an artist,” adds Rubinfien. “But the quantity of Winogrand’s output, the incompleteness with which he reviewed it, and the suddenness of his death create a special case in which the true scope of an eminent photographer’s work cannot be known without the intervention of an editor.”

Now housed at the Center for Creative Photography of the University of Arizona, Tucson, Winogrand’s “unfinished” work was initially organized in the years just after his death by several colleagues and friends in preparation for the artist’s first major museum retrospective, held at the Museum of Modern Art, New York (MoMA) in 1988. Exhibition curator John Szarkowski felt the quality of Winogrand’s work had significantly deteriorated in the last 15 years of his life, and included only a small group of pictures from the mysterious late work in MoMA exhibition.

Nearly 30 years have elapsed since the last attempt to grapple with the complete arc of Winogrand’s career. Benefiting from new curatorial research undertaken for this project, the current exhibition will provide a long-awaited reevaluation of his accomplishments. As one of the first museums to recognize photography as a legitimate art form, SFMOMA has collaborated with the National Gallery of Art – who, like SFMOMA, is known for its photography scholarship – in a multi-year endeavor to spearhead the presentation of this important exhibition and publication.”

Press release from the SFMOMA website

.

Garry Winogrand. 'New York' 1961

.

Garry Winogrand
New York
1961
Silver gelatin photograph
© The Estate of Garry Winogrand

.

Garry Winogrand. 'New York' 1963

.

Garry Winogrand
New York
1963
Silver gelatin photograph
© The Estate of Garry Winogrand

.

Garry Winogrand. 'San Marcos, Texas' 1964

.

Garry Winogrand
San Marcos, Texas
1964
Silver gelatin photograph
© The Estate of Garry Winogrand

.

Garry Winogrand. 'Coney Island, New York' c. 1952

.

Garry Winogrand
Coney Island, New York
c. 1952
Gelatin silver print
Collection The Museum of Modern Art, New York, purchase and gift of Barbara Schwartz in memory of Eugene M. Schwartz
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco; digital image
© The Museum of Modern Art/ Licensed by SCALA / Art Resource, NY

.

Garry Winogrand. 'Fort Worth, Texas' 1974-77

.

Garry Winogrand
Fort Worth, Texas
1974-77
Gelatin silver print
Garry Winogrand Archive, Center for Creative Photography, University of Arizona
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand. 'John F. Kennedy International Airport, New York' 1968

.

Garry Winogrand
John F. Kennedy International Airport, New York
1968
Silver gelatin photograph
© The Estate of Garry Winogrand

.

Garry Winogrand. 'New York' 1950

.

Garry Winogrand
New York
1950
Gelatin silver print
Collection SFMOMA, fractional and promised gift of Carla Emil and Rich Silverstein
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand. 'New York' c. 1962

.

Garry Winogrand
New York
c. 1962
Gelatin silver print
Garry Winogrand Archive, Center for Creative Photography, University of Arizona
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand. 'Venice Beach, Los Angeles' 1980-83

.

Garry Winogrand
Venice Beach, Los Angeles
1980-83
Gelatin silver print
Garry Winogrand Archive, Center for Creative Photography, University of Arizona
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

Garry Winogrand. 'Grand Central Station' 1968

.

Garry Winogrand
Grand Central Station
1968
Silver gelatin photograph
© The Estate of Garry Winogrand

.

Garry Winogrand. 'Los Angeles' 1964

.

Garry Winogrand
Los Angeles
1964
Silver gelatin photograph
© The Estate of Garry Winogrand

.

Garry Winogrand. 'New York' 1968

.

Garry Winogrand
New York
1968
Silver gelatin photograph
© The Estate of Garry Winogrand

.

Garry Winogrand. 'New York' c. 1969

.

Garry Winogrand
New York
c. 1969
Silver gelatin photograph
© The Estate of Garry Winogrand

.

.

1. Garza, O. C. Class Time with Garry Winogrand. 2007, p.19 [Online] Cited 26/05/2013
www.ocgarzaphotography.com/documents/ClassTimewithGarryWinograndfinal2.pdf

.

.

San Francisco Museum of Modern Art
151 Third Street
San Francisco, CA 94103

Opening hours:
Open daily (except Wednesdays): 11am – 5.45 pm
Open late Thursdays, until 8.45 pm

San Francisco Museum of Modern Art website

LIKE ART BLART ON FACEBOOK

Back to top

29
May
11

Exhibition: ‘Garry Winogrand. Women are beautiful’ at Fundació Foto Colectania, Barcelona

Exhibition dates: 23rd February – 4th June 2011

.

Many thankx to Fundació Foto Colectania for allowing me to publish the photographs in the posting. Please click on the photograph for a larger version of the image.

.

.

.

Garry Winogrand
Centennial Ball, Metropolitan Museum
New York, 1969
Silver gelatin print, printed 1981
22 x 33 cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

.

Garry Winogrand
Untitled
New York, 1965
Silver gelatin print, printed 1981
22 x 33 cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

.

Garry Winogrand
Untitled
New York, 1968
Silver gelatin print, printed 1981
22 x 33 cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

.

“Foundation Foto Colectania presents for the first time in Barcelona the famous series Women Are Beautiful by Garry Winogrand.

Garry Winogrand is considered one of the greatest innovators of photography of the twentieth-century in America. He knew like no other how to capture the social transformation of females in the 60’s and 70’s through his portraits of women who stand as an allegory of women’s emancipation and their new role in society. The Foundation Foto Colectania presents its series Women Are Beautiful, including 85 photographs taken between 1960 and 1975 and collected in the book with the same title by the legendary director of photography at the MoMA, John Szarkowski. The exhibition from the collection of Lola Garrido, is part of the programming line of the foundation which is dedicated to authors who changed the course of the history of photography. The exhibition can be seen in Barcelona until June 4, 2011. In the 60’s ended the era of big images as symbols of timeless truths, by the devastating influence first from Walker Evans, and later from Robert Frank and William Klein. The pictures are focused on the reflection of reality, no retouching or other ideas added. Garry Winogrand, Lee Friedlander represent “the new American style” which brole new ground in the so-called Street Photography.

Winogrand combines spontaneity with an apparent confusion, which is more than aware of the complexity of the photography world: “I photograph to see what the world looks like in photographs.” The presence of human beings, contrasting with the crowds and the streets in his photographs reveals a new way of looking, in which the anarchy results in a wealth of shapes and structures. Biased and cold style of Winogrand is associated with Abstract Expressionism and its sharp diagonals are similar to paint brush strokes of those years. If the photographer Robert Frank was critical of the 50’s, Garry Winogrand is one of the largest photographers of the 60’s.”

Press release from the Fundació Foto Colectania website

.

.

Garry Winogrand
World’s Fair
New York, 1964
Silver gelatin print, printed 1981
22 x 33 cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

.

Garry Winogrand
Untitled
New York, 1969
Silver gelatin print, printed 1981
33 x 22 cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

.

Garry Winogrand
Untitled
New York, 1968
Silver gelatin print, printed 1981
33 x 22 cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

.

.

Fundació Foto Colectania
Julián Romea 6, D2
08006
Barcelona

Opening hours:
Our collection, library and temporary exhibitions can be visited from Monday to Saturday from 11 – 14 and from 17 – 20.30.
Closed Sundays and holidays.

Fundació Foto Colectania website

Back to top




Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

Join 2,523 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

August 2019
M T W T F S S
« Jul    
 1234
567891011
12131415161718
19202122232425
262728293031  

Archives

Categories