Megan C. Ledbetter
The Top Ten Softest Net Artists in the Game
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Surveying Garry Winogrand’s American Epic
In order to enter the Garry Winogrand retrospective that opened last month at the Metropolitan Museum of Art, you exit the main auditorium into the south wing, where you are greeted by a long corridor of Greek art from the sixth through fourth centuries BC. It mostly consists of statues in various poses—some at war, some lost in thought, some proclaiming, some brooding. By the time you reach the Winogrand show on the second floor and begin to survey the work, it may occur to you that the Greek gallery provided something of an anachronistic prologue. Known for his routine of tirelessly walking the streets candidly photographing city life, Winogrand was a photographer of people, from rodeo performers in Texas to socialites in Manhattan to the regulars at Venice Beach. Humanity—or perhaps American humanity—in all its iterations and range of expression, was his subject matter.
The Met is the third stop of the exhibition’s tour, originating at San Francisco MoMA. The project began when gallerist Jeffrey Fraenkel asked photographer Leo Rubinfien to help compile a large retrospective book of Winogrand’s work. Rubinfien agreed, but in his own words, “it was immediately clear you needed a museum.” So Rubinfien approached San Francisco MoMA Curator of Photography Sandy Phillips, who jumped at the idea of doing an exhibition, in which Rubinfien, who is not a curator by trade, would act as such. This iteration at the Met was reduced from the original SF MoMA show by Jeff Rosenheim, curator in charge of the Department of Photographs at the Met. It is the first Winogrand retrospective in 25 years, a virtual eternity for an artist of Winogrand’s renown, let alone an artist no longer living.
Stephen Shore (American, b. 1947)
Graig Nettles, Fort Lauderdale, Florida, 1978
©Stephen Shore/Courtesy of Edwynn Houk Gallery
Happy July 4th!
Read Colin Stokes’s humorous piece on Fourth of July customs in England: http://nyr.kr/1lQtsVp
Photograph: Martin Parr/Magnum