American Photographer Garry Winogrand Retrospective
on View at National Gallery of Art, Washington
March 2 Through June 8, 2014
The first retrospective in 25 years of work by artist Garry Winograndâ€”renowned photographer of New York City and postwar American lifeâ€”will be on view at the National Gallery of Art, Washington, March 2 through June 8, 2014. Revealing the full breadth of his art for the first time, Garry Winogrand brings together some 190 of the artist’s most iconic imagesâ€”many never before exhibited or reproduced.
“Winogrand is widely recognized as one of the preeminent photographers of postwar America, though his work remains largely unexplored and incompletely published,” said Earl A. Powell III. “Building on several recent exhibitions of 20th-century American photographers, such as Robert Frank and Harry Callahan, the Gallery is proud to present another major American photographer to our visitors.”
The exhibition was on view at the San Francisco Museum of Modern Art (SFMOMA) from March 9 through June 2, 2013. After Washington, the exhibition will travel to 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 FundaciÃ³n MAPFRE, Madrid (March 3 through May 10, 2015).
Exhibition Organization and Support
Garry Winogrand is organized by the National Gallery of Art, Washington, and the San Francisco Museum of Modern Art.
The international tour of this exhibition is sponsored by the Terra Foundation for American Art. Leadership support is provided by Randi and Bob Fisher.
The exhibition in Washington is made possible through the generous support of the Robert and Mercedes Eichholz Foundation.
Additional support is kindly provided by the Trellis Fund.
Working in the tumultuous postwar decades, Winogrand captured moments of everyday American life, producing an expansive picture of a nation rich with possibility yet threatening to spin out of control. He did much of his best-known work in New York City in the 1960s, but he also traveled widely around the United States, from California and Texas to Miami and Chicago. Combining hope and buoyancy with anxiety and instability, his photographs trace the mood of the country itself, from the ebullience of the postwar optimism to the chaos of the 1960s and the gloom and depression of the post-Vietnam era.
When he died suddenly at age 56, Winogrand left behind thousands of rolls of exposed but undeveloped film and unedited contact sheets â€” some 250,000 frames in total. Many of these pictures have been printed for the first time for this long-awaited retrospective of his work. By presenting such archival discoveries alongside celebrated pictures, Garry Winogrand reframes a career that was, like the artist’s America, both epic and unresolved.
The exhibition is divided into three sections over seven galleries, each presenting a broad variety of subjects found in Winogrand’s art. “Down from the Bronx” presents photographs taken in New York City from his start in 1950 to 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 periodâ€”from 1971, when he moved away from New York, to his death in 1984â€”including photographs from Texas and Southern California, as well as Chicago, Washington, and Miami. The third section also presents a small number of Manhattan photographs made during Winogrand’s return visits; like much of his later work, they express a sense of desolation unprecedented in his earlier photographs.
A video of Winogrand at Rice University in the 1970s, edited for the exhibition, allows visitors to experience rare footage of the artist talking to students in a casual, extemporaneous manner.
Garry Winogrand (1928â€“1984)
Born in the Bronx, Winogrand is known primarily as a New York City street photographer, often associated with famed contemporaries Diane Arbus and Lee Friedlander. Exposing some 20,000 rolls of film in his short lifetime, Winogrand photographed business moguls, everyday women on the street, famous actors and athletes, hippies, politicians, antiwar demonstrators, soldiers, animals in zoos, rodeos, car culture, and airports. He was also an avid traveler who roamed around the United States to locations that included Los Angeles, San Francisco, Dallas, Houston, Chicago, Ohio, Colorado, and the open country of the Southwest.
After serving in the military as a weather forecaster, Winogrand began working as a photographer while studying painting on the G.I. Bill at Columbia University (1948â€“1951). He supplied commercial photographs to such general-interest magazines as Life, Look, Sports Illustrated, Collier’s, and Pageant. His career was further shaped by the decline of these popular magazines and the rise of a new culture of photography centered in the art world.
Although Winogrand was a prolific photographer throughout his career, he largely postponed printing and editing his work, especially at the end of his life. He published five books, but they contain only a fraction of his oeuvre. In his later years he spoke of reviewing and reediting all of his photographs, but he died abruptly, leaving behind more than 6,500 rolls of film (almost 250,000 images) that he had never seen, as well as proof sheets from his earlier years that he had marked but never printed. Winogrand’s archive, including his film and proof sheets, is now housed at the Center for Creative Photography of the University of Arizona, Tucson.
Curators and Catalogue
Garry Winogrand has been conceived and guest-curated by the photographer and author Leo Rubinfien, who was among the youngest of Winogrand’s circle of friends in the 1970s. As initiating curator, Rubinfien worked closely on the project with Sarah Greenough, senior curator of the department of photographs at the National Gallery of Art, Washington, and Erin O’Toole, associate curator of photography at SFMOMA. New curatorial research undertaken for this project has enabled the first thorough review of the prints and proof sheets from Winogrand’s complete working life.
Published by SFMOMA in association with Yale University Press, the 464-page fully illustrated exhibition catalogue is available in softcover and hardcover for purchase in the Gallery Shops. To order, please visit https://shop.nga.gov/; call (800) 697-9350 or (202) 842-6002; fax (202) 789-3047; or e-mail email@example.com. Five new essays and some 400 plates trace the artist’s working methods and major themes, and create a collective portrait of Winogrand. The catalogue also serves as the most comprehensive volume on Winogrand to date and the first in-depth study of the artist’s work, with essays by Rubinfien, Greenough, and O’Toole, as well as Sandra S. Phillips, senior curator of photography, SFMOMA, and Tod Papageorge, Walker Evans Professor of Photography, Yale University School of Art, and Winogrand’s intimate friend, protÃ©gÃ©, and sometime editor. Also included are a chronology and selected exhibitions and bibliography by Susan Kismaric, former curator of photography, Museum of Modern Art, New York.
The National Gallery of Art and its Sculpture Garden are at all times free to the public. They are located on the National Mall between 3rd and 9th Streets at Constitution Avenue NW, and are open Monday through Saturday from 10:00 a.m. to 5:00 p.m. and Sunday from 11:00 a.m. to 6:00 p.m. The Gallery is closed on December 25 and January 1. With the exception of the atrium and library, the galleries in the East Building will remain closed for approximately three years for Master Facilities Plan and renovations. For specific updates on gallery closings, visit https://www.nga.gov/content/ngaweb/Collection/modern-art-during-renovation.html.
For information call (202) 737-4215 or the Telecommunications Device for the Deaf (TDD) at (202) 842-6176, or visit the Gallery’s Web site at www.nga.gov. Follow the Gallery on Facebook at www.facebook.com/NationalGalleryofArt and on Twitter at www.twitter.com/ngadc.
Visitors will be asked to present all carried items for inspection upon entering. Checkrooms are free of charge and located at each entrance. Luggage and other oversized bags must be presented at the 4th Street entrances to the East or West Building to permit x-ray screening and must be deposited in the checkrooms at those entrances. For the safety of visitors and the works of art, nothing may be carried into the Gallery on a visitor’s back. Any bag or other items that cannot be carried reasonably and safely in some other manner must be left in the checkrooms. Items larger than 17 by 26 inches cannot be accepted by the Gallery or its checkrooms.