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Fundación MAPFRE | Área de Cultura | Garry Winogrand | Abril 2014

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Fundación MAPFRE | Área de Cultura | Garry Winogrand | Abril 2014

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Fundación MAPFRE | Área de Cultura | Garry Winogrand

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Garry Winogrand 11.JUN.2021 — 05.SEP.2021 (Barcelona)

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Garry Winogrand 11.JUN.2021 — 05.SEP.2021 (Barcelona)

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La exposición Garry Winogrand, que alberga el centro de fotografía KBr Fundación MAPFRE, en Barcelona, pretende incidir en la importancia que, para el estudio de esta disciplina, tienen algunos de los mejores fotógrafos de la segunda mitad del siglo xx y, en el caso concreto de este artista, como figura clave en la renovación de la fotografía documental.

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Estados Unidos en la posguerra: tras la Segunda Guerra Mundial, la victoria dio a los estadounidenses un hálito de esperanza. La Gran Depresión y el crack del 29 habían asolado el país y muchos temieron que tras la contienda los buenos tiempos no volverían. Sin embargo, el país se embarcó en un tiempo de riqueza económica acompañada de una nueva libertad. Las restricciones sociales, e incluso las raciales, comenzaban a relajarse. Pero también fueron tiempos de inquietud. El miedo a la subversión, a una mayor emancipación de la gente de color, a la excesiva libertad, a las armas nucleares, parecía estar en la mente de buena parte de la población. La persecución velada de los que eran considerados de "izquierdas" marcó uno de los aspectos del periodo de la Guerra Fría. Estas contradicciones, las de un ambiente próspero y fuerte, el aparentemente conseguido "American way of life" mezclado con esa sensación de miedo, incluso de angustia, se encuentran reflejadas en la obra de Garry Winogrand como en ninguna otra de los fotógrafos de su generación.

La calle: hacia 1957 el artista abandona su ocupación como fotorreportero por encargo para revistas ilustradas y se dedica en exclusiva a su trabajo personal y a la publicidad. Tras su primera exposición individual en 1960 en la Image Gallery de Nueva York, comienza a utilizar distintas técnicas y recursos para capturar la energía y la vitalidad de las calles de la ciudad, como el gran angular o el plano inclinado, que le permiten considerarse a sí mismo un fotógrafo serio. Alejado de todo sentimentalismo, persigue la autenticidad y la sinceridad, tanto en su vida como en su obra. Sus imágenes consiguen capturar el espíritu de toda una generación que, tras un periodo de bonanza, oculta un sentimiento de desasosiego por un mundo que aparentemente es capaz de enfrentarse a cualquier cosa y que sin embargo parece abocado al colapso.

La fragmentación: las imágenes de Garry Winogrand, a contracorriente de las tendencias fotográficas, no siempre dan una explicación de lo que retratan, pues el artista se mueve en el terreno de una cierta ambigüedad. Vemos personajes cortados, primeros planos que se centran en un motivo situado en una esquina de una fotografía, o fogonazos de luz que nos impiden la comprensión al primer vistazo.

Sus fotografías generan desconcierto y hacen que nos preguntemos qué es lo que realmente cuenta la imagen, quién es el personaje que tenemos ante nuestros ojos o el porqué de esa escena fraccionada. Es como si el artista también se estuviera haciendo esas mismas preguntas, para las que no siempre obtiene una respuesta porque, en realidad, se interesa más por cómo las imágenes transmiten el mundo que por lo que cuentan de él. A pesar de todo, Winogrand nunca fue muy dado a dar explicaciones sobre su obra. En una ocasión, cuando le preguntaron por el motivo de sus imágenes, señaló: "Hago fotografías para descubrir qué apariencia tendrá algo una vez convertido en fotografía", rechazando así su carácter narrativo o simbólico.

El color: en 1967, en la emblemática exposición New Documents, celebrada en el MoMA de Nueva York, se presentó por primera vez una selección de 80 diapositivas a color de Garry Winogrand. Debido a diversas dificultades técnicas con el proyector, que se averió y acabó quemando unas diez de ellas, fueron retiradas de la muestra. Por ello, en vida del artista, esas imágenes a color apenas se conocían. Sin embargo, en las reuniones con amigos y en sus clases, el autor las enseñaba mediante pases de diapositivas similares al que reproduce el montaje realizado para mostrarlas en exposición que presentamos aquí. Es la primera vez que puede verse esta parte de su trabajo en España.

Actualmente, el Center for Creative Photography de Tucson (Arizona), que custodia su legado, conserva más de 45.000 diapositivas en color del autor. Nuestro agradecimiento por su apoyo y participación, que han permitido que esta exposición sea una realidad.

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Estados Unidos en la posguerra: tras la Segunda Guerra Mundial, la victoria dio a los estadounidenses un hálito de esperanza. La Gran Depresión y el crack del 29 habían asolado el país y muchos temieron que tras la contienda los buenos tiempos no volverían.

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Garry Winogrand: La pasión fotográfica | rtve La aventura del saber 07/02/2019

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Garry Winogrand: La pasión fotográfica | rtve La aventura del saber 07/02/2019

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Garry Winogrand: La pasión fotográfica | rtve La aventura del saber 07/02/2019

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Fotaza: Garry Winogrand New York Fair 1964 - YouTube

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Fotaza: Garry Winogrand New York Fair 1964 - YouTube

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Fotaza: Garry Winogrand New York Fair 1964

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Kanopy - Stream Classic Cinema, Indie Film and Top Documentaries

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Garry Winogrand: All Things Are Photographable | George Eastman Museum

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Garry Winogrand: All Things Are Photographable | George Eastman Museum

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Garry Winogrand: All Things Are Photographable | George Eastman Museum

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One Take Film Festival. Described as a poet, an athlete, and a philosopher of photography, Garry Winogrand harnessed the serendipity of the streets to capture 1960s and ’70s America. Note start time.

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Garry Winogrand: All Things Are Photographable Trailer #1 (2018) | Movieclips Indie - YouTube

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Garry Winogrand: All Things Are Photographable Trailer #1 (2018) | Movieclips Indie - YouTube

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Garry Winogrand: All Things Are Photographable Trailer #1 (2018) | Movieclips Indie

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Garry Winogrand: All Things are Photographable | About | American Masters | PBS

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Garry Winogrand: All Things are Photographable | About | American Masters | PBS

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Decades before digital technology transformed how we make and see pictures, Garry Winogrand made over 1 million of them with his 35mm Leica camera, creating an encyclopedic portrait of America from the late 1950s to the early 1980s in the process. When he died suddenly at age 56, Winogrand left behind more than 10,000 rolls of film - more than a quarter of a million pictures. These images capture a bygone era: the New York of Mad Men, the early years of the Women's Movement, the birth of American suburbs and the glamour and alienation of Hollywood. He produced so many unseen images that it has taken until now for the full measure of his artistic legacy to emerge. Garry Winogrand: All Things are Photographable is the first cinematic survey of that legacy. With unprecedented access to Winogrand's estate and the cooperation of his gallery, the film tells the story of an artist whose rise and fall was - like America's in the late decades of the 20 th century - larger-than-life, full of contradictions and totally unresolved.

In addition to hundreds of iconic photographs, filmmaker Sasha Waters Freyer makes ample use of Winogrand's previously unseen 8mm color home movies of his parents, three wives and children, plus the wealth of footage created as he roamed city streets and attended 1960s protests. The film also features newly discovered audio cassette tapes of Winogrand, which are the only un-staged media of the artist in existence. These cassette tapes capture conversations with an old friend, recorded in a forgotten Texas diner, about ex-wives, parents, children, sex, students, and the meaning and making of art. Following his first solo exhibition at the Museum of Modern Art in New York in 1969, Winogrand's work has since been exhibited at museums and galleries across the country and around the world. Through his own words and images, Garry Winogrand: All Things are Photographable presents an intimate portrait of a man who both personified his era and transformed it.

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Garry Winogrand: All Things are Photographable ~ About | American Masters | PBS

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Decades before digital technology transformed how we make and see pictures, Garry Winogrand made over 1 million of them with his 35mm Leica camera, creating an encyclopedic portrait of America from the late 1950s to the early 1980s in the process.

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Garry Winogrand: All Things are Photographable | Garry Winogrand's Early Career | American Masters | PBS

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Garry Winogrand: All Things are Photographable | Garry Winogrand's Early Career | American Masters | PBS

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Garry Winogrand: All Things are Photographable ~ Garry Winogrand's Early Career | American Masters | PBS

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Discover how Winogrand's early career led him to become an epic storyteller in pictures who harnessed the serendipity of the streets to capture the

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Garry Winogrand: All Things Are Photographable - Official Trailer - YouTube

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Garry Winogrand: All Things Are Photographable - Official Trailer - YouTube

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Garry Winogrand: All Things Are Photographable - Official Trailer

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La aventura del Saber: La aventura del saber - 08/04/15 | RTVE Play

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La aventura del Saber: La aventura del saber - 08/04/15 | RTVE Play

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La aventura del Saber: La aventura del saber - 08/04/15 | RTVE Play

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Emisión del programa La aventura del Saber titulado La aventura del saber - 08/04/15. Todos los contenidos de TVE los tienes aquí, en RTVE Play

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La aventura del Saber: Garry Winogrand: La pasión fotográfica | RTVE Play

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La aventura del Saber: Garry Winogrand: La pasión fotográfica | RTVE Play

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La aventura del Saber: Garry Winogrand: La pasión fotográfica | RTVE Play

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Emisión del programa La aventura del Saber titulado Garry Winogrand: La pasión fotográfica. Todos los contenidos de TVE los tienes aquí, en RTVE Play

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‘All Things are Photographable’: un documental sobre Garry Winogrand y sus miles de f

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‘All Things are Photographable’: un documental sobre Garry Winogrand y sus miles de f

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'All Things are Photographable': un documental sobre Garry Winogrand y sus miles de fotografías inéditas

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El portal de micromecenazgo Kickstarter ha lanzado una campaña con la que se buscan reunir los apoyos necesarios para sacar a la luz el legado que dejó Garry Winogrand. Más de 10.000 rollos de película absolutamente inéditos.

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Garry Winogrand: All Things Are Photographable - Official Trailer - YouTube

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Garry Winogrand: All Things Are Photographable - Official Trailer - YouTube

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Garry Winogrand: All Things Are Photographable - Official Trailer

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Garry Winogrand All Things are Photographable by Sasha Waters Freyer — Kickstarter - YouTube

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Garry Winogrand All Things are Photographable by Sasha Waters Freyer — Kickstarter - YouTube

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Garry Winogrand All Things are Photographable by Sasha Waters Freyer — Kickstarter

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Garry Winogrand: All Things are Photographable | Garry Winogrand's "Public Relations" Project | American Masters | PBS

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Garry Winogrand: All Things are Photographable | Garry Winogrand's "Public Relations" Project | American Masters | PBS

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Garry Winogrand: All Things are Photographable ~ Garry Winogrand’s “Public Relations” Project | American Masters | PBS

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With his “Public Relations” project, Winogrand is considered to be among the first to show that the event was of secondary importance to the photograph of

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Visions and Images: Garry Winogrand, 1981 - YouTube

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Visions and Images: Garry Winogrand, 1981 - YouTube

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Visions and Images: Garry Winogrand, 1981

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Garry Winogrand documentary preview - YouTube

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Garry Winogrand documentary preview - YouTube

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3 Lessons by Garry Winogrand (Street & documentary photography) - YouTube

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3 Lessons by Garry Winogrand (Street & documentary photography) - YouTube

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3 Lessons by Garry Winogrand (Street & documentary photography)

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PETER LINDBERGH / GARRY WINOGRAND: WOMEN ON STREET - YouTube

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PETER LINDBERGH / GARRY WINOGRAND: WOMEN ON STREET - YouTube

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PETER LINDBERGH / GARRY WINOGRAND: WOMEN ON STREET

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Garry Winogrand: Visions from the Street, Portraits of America - Photographs by Garry Winogrand | LensCulture

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Garry Winogrand: Visions from the Street, Portraits of America - Photographs by Garry Winogrand | LensCulture

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Sometimes I feel like...the world is a place I bought a ticket to...It's a big show for me, as if it wouldn't happen if I wasn't there with a camera.

-Garry Winogrand

[above: a video included at the exhibition.]

Garry Winogrand didn't believe in teachers. He didn't believe in school. He didn't believe in classes. Garry Winogrand believed in work. He thought that you learned from making pictures, from looking at those pictures, and then taking more. As his life went on, he started to skip the middle step and simply snapped and shot and photographed without a second look back. Today, the Garry Winogrand archive holds some 100,000 negatives, with 2,500 rolls that are wholly undeveloped and 6,500 more that bear no trace of his review.

But within this massive trove of work, over the course of three very different decades, Winogrand told the story of America. Beginning in New York City in the 50s, ranging across America in the 60s, and finally moving out West in the 70s, Winogrand's camera took in a country at its best, its worst, its most exuberant, its most confused and everything in between. According to one rough calculation, Winogrand's photos captured some 2 million people-around 1% of the American population in that time.

Curator Leo Rubinfien spent some three years at Winogrand's archives, poring over tens of thousands of negatives to make his selection for the exhibition "Garry Winogrand." It is a great credit to Rubinfien that his show manages to corral the prolific photographer's massive output into three sensibly-sized, reasonably graspable periods: "Down from the Bronx." "A student of America," and "Boom and bust." Each of these segments roughly corresponds to a distinctive era in American history-the post-war consumerist glory days of the 1950s, the confused, complicated, passionate (student-driven) 1960s, and the gleaming (but hollow) materialism of the West, of Hollywood, in the 1970s.

Besides re-understanding America, the depth and breadth of this show allows us to re-understand Winogrand. Since so much of Winogrand's work, especially from the final 15 years of his life, was never developed, the show offers even the most seasoned street photography lover new insights. While Winogrand's later work loses some of the youthful energy of his more iconic photos, it more than makes up for it in wit, irony and penetrating insight.

Besides these revelatory later photos, Rubinfien shares with us revealing recommendation letters, successful Guggenheim fellowship applications, and most delightfully, Winogrand's marked up contact sheets. In these final objects, we really see how Winogrand's voracious mind worked. We see him photograph the same subject five different ways, move on to a different subject, and then return again to the first thing, with a new idea in mind. We understand his evolving style, his changing moods, his ever-improving vision. Simply put, we get a glimpse into the mind's eye of this photographic master.

More than any history book, any period piece, any single issue of Life magazine, Winogrand's photos give us a portal into the history, character, and beating heart of America.

-Alexander Strecker

Editor's Note: "Garry Winogrand" showed at the Jeu de Paume in Paris from October 14 to February 8, 2015 as well as in San Francisco, Washington D.C., New York and Madrid.

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Garry Winogrand: Visions from the Street, Portraits of America - Photographs by Garry Winogrand | LensCulture

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Sometimes I feel like...the world is a place I bought a ticket to...It's a big show for me, as if it wouldn't happen if I wasn't there with a camera. -Garry Winogrand [above: a video included at the exhibition.] Garry Winogrand didn't believe in teachers. He didn't believe in school.

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El extrañamiento de Garry Winogrand - YouTube

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El extrañamiento de Garry Winogrand - YouTube

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Composition with Garry Winogrand - YouTube

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Composition with Garry Winogrand - YouTube

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Garry Winogrand Photographic Juxtaposition - YouTube

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Garry Winogrand Photographic Juxtaposition - YouTube

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Graeme Williams - Photographic Conversations

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Garry Winogrand  Photographic Juxtaposition

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A Guide to Juxtaposition in Street Photography - YouTube

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A Guide to Juxtaposition in Street Photography - YouTube

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A Guide to Juxtaposition in Street Photography

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Garry Winogrand and his Crooked Horizon Lines [Street Photography Tips] (2018) - YouTube

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Garry Winogrand and his Crooked Horizon Lines [Street Photography Tips] (2018) - YouTube

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Garry Winogrand and his Crooked Horizon Lines [Street Photography Tips] (2018)

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Colour Photography with GARRY WINOGRAND. - YouTube

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Colour Photography with GARRY WINOGRAND. - YouTube

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Colour Photography with GARRY WINOGRAND.

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Rediscovering Garry Winogrand’s long forgotten color work - Feature Shoot

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Rediscovering Garry Winogrand’s long forgotten color work - Feature Shoot

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During the 1950s and '60s, Garry Winogrand made more than 45,000 color slides, socking away tens of thousands of unprinted images when he died. The Bronx native came from humble working class roots, where the journey - and not the end - was the purpose of his work. Winogrand photographed, and left an archive behind of the world seen through his streetwise eyes.

Known best for his black and white photographs that pioneered a snapshot aesthetic in fine art, Winogrand's color work is now receiving its due in Garry Winogrand: Color at the Brooklyn Museum, now through December 8, 2019.

As the exhibition reveals, color was an ace in Winogrand's hand. He was thoughtfully attuned to the vibrations that color imbued the image as a whole - as well as the way it enhanced our experience of the objects themselves. In his hands, color becomes a poem, a sonnet, an ode, a diddy bop that you can imagine Winogrand whistling while he worked making these photos.

Embedded in each image is the same slice of life: the immediacy of the moment captured then forever taken out of context. It is a particular sensation, Wingorand's eye, a curious, inquisitive creep cruising the streets capturing scenes no one else is seeing when they are looking anyway. Winogrand places the pauses, the spaces in between the words, and uses color to punctuate the moment with potent emotional intensity.

Here is the wonder of the mundane and banal, the quiet grandeur of simply being alive in the world, which comes alive in more than 400 rarely or never-before seen color photographs in the exhibition. Made on the streets of New York and across the United States, Winogrand's photographs are candid portraits of mid-century America in its most unassuming self, lost in the business of going about one's day.

Winogrand's penchant for public life brought him to the places people went once upon a time before the Internet locked them into their phones. At a time long before the thought that someone would be recording you without your knowledge became reality. Winogrand cruised streets and highways, motels and theaters, fairgrounds and amusement parks in search of photographs no one ever saw - until now.
All images: © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco
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Rediscovering Garry Winogrand's long forgotten color work

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During the 1950s and '60s, Garry Winogrand made more than 45,000 color slides, socking away tens of thousands of unprinted images when he died. The Bronx native came from humble working class roots, where the journey - and not the end - was the purpose of his work.

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Garry Winogrand - The First "Digital Photographer" Shooting Film - YouTube

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Garry Winogrand - The First "Digital Photographer" Shooting Film - YouTube

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Garry Winogrand - The First "Digital Photographer" Shooting Film

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GARRY WINOGRAND en Imagen Líquida - YouTube

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GARRY WINOGRAND en Imagen Líquida - YouTube

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A Visit to Garry Winogrand’s Retrospective

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A Visit to Garry Winogrand’s Retrospective

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Garry Winogrand's 25-year retrospective, currently on display at the National Gallery of Art in Washington, D.C., includes Winogrand's iconic images of everyday Americans-New Yorkers out on the street, lone figures in busy airports, and eerie scenes of western suburbia. But about one-third of the show comes from Winogrand's vast stockpile of unpublished work. Winogrand, who died suddenly at age 56, left behind 2,500 rolls of film that had never been developed and 6,500 rolls of film that had been developed but never made into contact sheets. At 36 frames per roll, that's well over a quarter of a million images that Winogrand made but never looked at.

Winogrand was a voracious shooter, always more interested in taking pictures than in editing them. Sometimes he waited to view the images intentionally, so that he could see them more objectively,

"If I was in a good mood when I was shooting one day, then developed the film right away, I might choose a picture because I remember how good I felt when I took it. You make better choices if you approach your contact sheets cold, separating the editing from the picture taking as much as possible."

If separating the shoot from the edit makes for a better selection of pictures, putting together a retrospective decades after the unprocessed rolls were shot should make for a spectacular exhibit.

Does it?

Nearly.

In one image that was printed posthumously, a woman's lifeless body lies in a Los Angeles street while a Porsche glides by. As he does in his best work, Winogrand poses questions without positing any answers. But not all of the images printed posthumously are so compelling. I found myself skimming past many of the photographs that were developed and printed after Winogrand's death and wishing the curators had cut the show down by a few dozen prints. Still, I got so sucked into the 200 or so remaining images-vivid, visceral portrayals of America teetering between tremendous success and terrible collapse-that I'm already planning my second visit to the show.
The Garry Winogrand exhibit was curated by Leo Rubinfien and Sarah Greenough. It was organized by the National Gallery of Art in Washington, D.C., and the San Francisco Museum of Modern Art. The retrospective is on display now through June 8 at the National Gallery of Art. On June 27, the exhibit will open at The Metropolitan Museum of Art and run through September. It was previously shown at the San Francisco Museum of Modern Art.

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A Visit to Garry Winogrand's Retrospective

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Garry Winogrand's 25-year retrospective, currently on display at the National Gallery of Art in Washington, D.C., includes Winogrand's iconic images of everyday Americans-New Yorkers out on the street, lone figures in busy airports, and eerie scenes of western suburbia. But about one-third of the show comes from Winogrand's vast stockpile of unpublished work.

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GARRY WINOGRAND at JEU DE PAUME on Vimeo

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GARRY WINOGRAND at JEU DE PAUME on Vimeo

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The Jeu de Paume presents the first retrospective in twenty-five years of the great American photographer, Garry Winogrand (1928–1984), who chronicled America in the post-war years. Winogrand is still relatively unknown because he left his work unfinished at the time of his death, but he is unquestionably one of the masters of American street photography, on a par with Walker Evans, Robert Frank, Lee Friedlander and William Klein.

More information here : http://bit.ly/1EsGPQT

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Garry Winogrand at Rice University - YouTube

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Garry Winogrand at Rice University - YouTube

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Le Jeu de Paume présente la première rétrospective, depuis vingt-cinq ans, du grand photographe américain Garry Winogrand (1928-1984). Chroniqueur célèbre de l'Amérique de l'après-guerre, Winogrand est encore mal connu, tant il a laissé de travail à accomplir - au moment de sa mort prématurée - dans l'archivage, le développement et le tirage de ses photographies. Il est cependant sans conteste l'un des maîtres de la photographie de rue américaine, au même titre qu'Evans, Frank, Friedlander ou Klein.

Célèbre pour ses photographies de New York et de la vie aux États-Unis depuis les années 1950 jusqu'au début de la décennie 1980, Winogrand cherche à savoir " à quoi ressemblent les choses quand elles sont photographiées ". Organisée conjointement par le SFMOMA et la National Gallery of Art de Washington, l'exposition " Garry Winogrand " réunit les images les plus emblématiques de l'artiste et des tirages inédits puisés dans les archives, en grande partie inexplorées, de la fin de sa vie. Elle offre une vue d'ensemble rigoureuse de son parcours et, pour la première fois, embrasse la totalité de sa carrière.

Les photographies de l'exposition et celles du catalogue composent un portrait vivant de l'artiste, chroniqueur de l'Amérique de l'après-guerre à l'égal d'un Norman Mailer ou d'un Robert Rauschenberg qui, durant les décennies postérieures à la Seconde Guerre mondiale, témoignèrent inlassablement d'une Amérique ballottée entre optimisme et bouleversements.

Winogrand a beau être considéré, par beaucoup, comme l'un des plus grands photographes du XX e siècle, l'examen de son corpus pictural et de son influence sur la discipline demeurent incomplets. Extrêmement prolifique, il a pourtant souvent différé la sélection et le tirage de ses images. À sa mort, survenue brutalement à l'âge de 56 ans, il a ainsi laissé derrière lui environ 6 500 bobines (soit quelque 250 000 images) qu'il n'a jamais vues ainsi que des planches-contacts des années antérieures, qui
avaient été marquées mais jamais tirées. De sorte que près de la moitié des photographies de cette exposition n'ont jamais été montrées ni publiées à ce jour et que plus de cent n'avaient encore jamais été tirées.

" Il n'existe en photographie aucun ensemble, de taille ou de qualité comparables, qui soit à ce point resté à l'état de friche ", déclare Leo Rubinfien qui, dans les années 1970, fut l'un des plus jeunes dans le cercle d'amis de l'artiste. " Cette exposition est un premier pas vers une analyse d'ensemble du travail inachevé de Winogrand. Elle est aussi l'occasion de s'éloigner d'une présentation thématique au profit d'une approche plus libre, fidèle à l'esprit qui était au cœur de sa démarche, ce qui permet de renouveler le regard porté sur son œuvre, même de la part de ceux qui pensent le connaître. "

L'exposition est divisée en trois parties, chacune couvrant une grande variété de sujets chers à l'artiste. " Descendu du Bronx " présente des photographies prises en majorité à New York, depuis ses débuts en 1950 jusqu'en 1971 ; " C'est l'Amérique que j'étudie " rassemble des travaux réalisés à la même époque mais lors de voyages hors de New York ; et " Splendeur et déclin " porte sur la période de maturité depuis son départ de New York en 1971 jusqu'à sa mort en 1984 avec des images du Texas et de Californie du Sud, ainsi que de Chicago, de Washington, de Miami et d'ailleurs. Cette troisième section comporte également un petit nombre d'images prises lors de ses retours à Manhattan, dans lesquelles s'exprime une tristesse absente, jusque-là, de son travail.

Winogrand était connu pour être un grand bavard, doté d'une personnalité exubérante et impétueuse, et les commentaires dont il émaillait ses projections et ses conférences étaient souvent pleins de verve et de drôlerie. Des extraits d'une vidéo réalisée en 1977 permettront aux visiteurs de se faire une idée du Winogrand vivant.

Commissaires
Leo Rubinfien, Erin O'Toole et Sarah Greenough.
L'exposition a été conçue et organisée par le commissaire invité Leo Rubinfien, photographe et auteur,
en collaboration avec Erin O'Toole, conservateur associé de la photographie au SFMOMA, et Sarah Greenough, conservatrice de la photographie à la National Gallery of Art.

Partenaires
L'exposition " Garry Winogrand " est organisée par
leSan Francisco Museum of Modern Art
et laNational Gallery of Art à Washington
La
Randi et Bob Fisher sont les principaux mécènes de l'exposition.

Neuflize Vie, mécène principal
du Jeu de Paume
et laManufacture Jaeger-LeCoultre,
partenaire privilégié

ont choisi d'apporter conjointement leur soutien à l'exposition " Garry Winogrand " à Paris.
En partenariat avec la RATP.
Dans le cadre du Mois de la Photo à Paris 2014.

Partenaires médias : A Nous Paris, L'Architecture d'Aujourd'hui, De l'air, Obsession, Marie Claire, Stylist, LCI,

Remerciements à l'hôtel Castille de Paris

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Le Jeu de Paume présente la première rétrospective, depuis vingt-cinq ans, du grand photographe américain Garry Winogrand (1928-1984). Chroniqueur célèbre de l'Amérique de l'après-guerre, Winogrand est encore mal connu, tant il a laissé de travail à accomplir - au moment de sa mort prématurée - dans l'archivage, le développement et le tirage de ses photographies.

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Chroniqueur de l’Amérique de l’après-guerre, Winogrand est encore mal connu, tant il a laissé de travail à accomplir — au moment de sa mort prématurée — dans l’archivage, le développement et le tirage de ses photographies. Il est cependant sans conteste l’un des maîtres de la photographie de rue américaine, au même titre qu’Evans, Frank, Friedlander ou Klein.

Célèbre pour ses photographies de New York et de la vie aux États-Unis depuis les années 1950 jusqu’au début de la décennie 1980, Winogrand cherche à savoir « à quoi ressemblent les choses quand elles sont photographiées ».

Winogrand a beau être considéré, par beaucoup, comme l’un des plus grands photographes du XXe siècle, l’examen de son corpus pictural et de son influence sur la discipline demeurent incomplets. Extrêmement prolifique, il a pourtant souvent différé la sélection et le tirage de ses images. À sa mort, survenue brutalement à l’âge de 56 ans, il a ainsi laissé derrière lui environ 6 500 bobines (soit quelque 250 000 images) qu’il n’a jamais vues ainsi que des planches-contacts des années antérieures, qui avaient été marquées mais jamais tirées.

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