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36

GARRY WINOGRAND (American, 1928-1984) LOS ANGELES numbered and signed

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GARRY WINOGRAND (American, 1928-1984) LOS ANGELES numbered and signed
GARRY WINOGRAND (American, 1928-1984) LOS ANGELES numbered and signed "#141 Garry Winogrand" in pencil on verso vintage gelatin silver print 8 7/8 x 13 1/8 in. (22.5 x 33.3 cm) 1964 PROVENANCE Allen Frumkin/Carol Ehlers, CHICAGO Private Collection, NEW YORK LITERATURE Nathan Lyons, ed., TOWARD A SOCIAL LANDSCAPE, New York, 1966, p. 58 (illustrated) John Szarkowski, MIRRORS AND WINDOWS: AMERICAN PHOTOGRAPHY SINCE 1960, New York, 1978, p. 93 (illustrated) Peter Turner, ed., AMERICAN IMAGES: PHOTOGRAPHY 1945-1980, LONDON, 1985, p. 128 (illustrated) Peter Turner, HISTORY OF PHOTOGRAPHY, New York, 1987, p. 162 (illustrated) John Szarkowski, WINOGRAND: FIGMENTS FROM THE REAL WORLD, New York, 1988, p. 149 (illustrated) Keith F. Davis, NIGHT LIGHT: A SURVEY OF 20TH CENTURY NIGHT PHOTOGRAPHY, Kansas City, 1989, p. 11, cat. no. 44 (illustrated) Carl Chiarenza, "Standing on the Corner...: Reflections upon Winogrand's Photographic Gaze: Mirror of Self or World? Part I," IMAGE, vol. 34, no. 3-4 (Fall/Winter 1991), pp. 16-51 (illustrated on p. 24 as fig. 4) Peter Galassi, AMERICAN PHOTOGRAPHY 1890-1965: FROM THE MUSEUM OF MODERN ART, NEW YORK, New York, 1995, p. 227 (illustrated) Jeffrey Fraenkel, ed., THE MAN IN THE CROWD: THE UNEASY STREETS OF GARRY WINOGRAND, San Francisco, 1999, pl. 20 (illustrated) Peter Galassi, WALKER EVANS & COMPANY, New York, 2000, p. 131, pl. 145 (illustrated) Carlos Gollonet and Leo Rubinfien, GARRY WINOGRAND: EL JUEGO DE LA FOTOGRAFÍA. THE GAME OF PHOTOGRAPHY, Madrid, 2001, p. 65 (illustrated) Kerry Brougher and Russell Ferguson, OPEN CITY: STREET PHOTOGRAPHS SINCE 1950, Oxford, 2001, pp. 72-73 (illustrated) Anyone who met Garry Winogrand would never forget him. He had a tough exterior that was intimidating at first, but he was a truly gentle person. He spoke about photography with a furious passion. The highest praise he gave about a photograph was that it was made with "intelligence." In order to make this picture, Winogrand had to have released the shutter almost before he could have perceived it. Made at night with a wide-angle lens, Winogrand had to lean very close to this car. Years of shooting in the streets gave him the experience to capture such an image. Beyond quick reflexes, Winogrand possessed the same intelligence that he admired in others and whose names he often cited, such as Eugène Atget, André Kertész, Robert Frank. When speaking about photography, he claimed that photographs are mute-they don't talk. He is often quoted: "I photograph to find out what something looks like photographed" ("Monkeys Make the Problem More Difficult: A Collective Interview with Garry Winogrand," IMAGE, vol. 15, no. 2, July 1972, pp. 1-5).
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