The term snapshot aesthetic refers to a trend within fine art photography in the USA from around 1963 . The style typically features apparently banal everyday subject matter and off-centered framing. Subject matter is often presented without apparent link from image-to-image and relying instead on juxtaposition and disjunction between individual photographs. This tendency was promoted by John Szarkowski, who was head of the photography department at the Museum of Modern Art from 1962 to 1991, and it became especially fashionable from the late 1970s until the mid 1980s . Notable practitioners include Garry Winogrand, Nan Goldin, Wolfgang Tillmans, Martin Parr, William Eggleston, and Terry Richardson. In contrast with photographers like W. Eugene Smith and Gordon Parks, these photographers aimed not "to reform life but to know it." (John Szarkowski, ''Diane Arbus'') Szarkowski brought to prominence the work of Diane Arbus, Lee Friedlander and Garry Winogrand in his influential exhibition “New Documents” at the Museum of Modern Art in 1967, in which he identified a new trend in photography: pictures that seemed to have a casual, snapshot-like look and had subject matter that seemed strikingly ordinary.

In recent years young contemporary photographers, such as Hiromix, Ryan McGinley, Miko Lim, and Arnis Balcus have gained international recognition thanks to the snapshot aesthetic. From the early nineties the style became the predominant mode in fashion photography, especially within youth fashion magazines such as ''The Face'' - photography from this era is often associated with the so-called 'heroin chic' look (a look often seen as having been influenced particularly by Nan Goldin)

The term arose from the fascination of artists with the 'classic' black & white vernacular snapshot, the characteristics of which were: 1) they were made with a hand held camera on which the viewfinder could not easily 'see' the edges of the frame, unlike modern cheap digital cameras with electronic viewfinder, and so the subject had to be centred; and 2) they were made by ordinary people recording the ceremonies of their lives and the places that they lived and visited.

An early theorist of snapshot aesthetic was the Austrian architectural critic, Joseph August Lux, who in 1908 wrote a book called Künsterlische Kodakgeheimnisse (Artistic Secrets of the Kodak) in which he championed the use of Kodak cameras like the Brownie. Guided by a position that was influenced by the Catholic critique of modernity, he argued that the ease of use of the camera meant that people could photograph and document their surroundings and thus produce, what he hoped, was a type of stability in the ebb and flow of the modern world.

Notes

Category:Photography by genre

ja:スナップショット・エステティック

name	Robert Frank
birth date	November 09, 1924
birth place	Zürich, Switzerland
notable works	''The Americans''
nationality	American
occupation	Photographer, film director
influences	Walker Evans
influenced	Garry Winogrand, Bruce Davidson }}

Robert Frank (born November 9, 1924, Zürich), is an important figure in American photography and film. His most notable work, the 1958 photobook titled ''The Americans'', was influential, and earned Frank comparisons to a modern-day de Tocqueville for his fresh and skeptical outsider's view of American society. Frank later expanded into film and video and experimented with manipulating photographs and photomontage.

Background and early photography career

Frank was born to a wealthy Jewish family in Switzerland. His mother, Rosa, was Swiss, but his father, Hermann, had become stateless after World War I and had to apply for the Swiss citizenship of Frank and his older brother, Manfred. Though Frank and his family remained safe in Switzerland during World War II, the threat of Nazism nonetheless affected his understanding of oppression. He turned to photography, in part as a means to escape the confines of his business-oriented family and home, and trained under a few photographers and graphic designers before he created his first hand-made book of photographs, ''40 Fotos'', in 1946. Frank emigrated to the United States in 1947, and secured a job in New York City as a fashion photographer for ''Harper's Bazaar''. He soon left to travel in South America and Europe. He created another hand-made book of photographs that he shot in Peru, and returned to the U.S. in 1950. That year was momentous for Frank, who, after meeting Edward Steichen, participated in the group show ''51 American Photographers'' at the Museum of Modern Art (MoMA); he also married fellow artist Mary Frank née Mary Lockspeiser, with whom he had two children, Andrea and Pablo.

Though he was initially optimistic about United States society and culture, Frank's perspective quickly changed as he confronted the fast pace of American life and what he saw as an overemphasis on money. He now saw America as an often bleak and lonely place, a perspective that became evident in his later photography. Frank's own dissatisfaction with the control that editors exercised over his work also undoubtedly colored his experience. He continued to travel, moving his family briefly to Paris. In 1953, he returned to New York and continued to work as a freelance photojournalist for magazines including ''McCall's'', ''Vogue'', and ''Fortune''. Associating with other contemporary photographers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has termed The New York School of photographers during the 1940s and 1950s.

''The Americans''

With the aid of his major artistic influence, the photographer Walker Evans, Frank secured a grant from the John Simon Guggenheim Memorial Foundation in 1955 to travel across the United States and photograph all strata of its society. Cities he visited included Detroit and Dearborn, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana; Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois. He took his family along with him for part of his series of road trips over the next two years, during which time he took 28,000 shots. Only 83 of those were finally selected by him for publication in ''The Americans''. Frank's journey was not without incident. While driving through Arkansas, he was arbitrarily thrown in jail after being stopped by the police; elsewhere in the South, he was told by a sheriff that he had "an hour to leave town."

Shortly after returning to New York in 1957, Frank met Beat writer Jack Kerouac on the sidewalk outside a party and showed him the photographs from his travels. Kerouac immediately told Frank "Sure I can write something about these pictures," and he contributed the introduction to the U.S. edition of ''The Americans''. Frank also became lifelong friends with Allen Ginsberg, and was one of the main visual artists to document the Beat subculture, which felt an affinity with Frank's interest in documenting the tensions between the optimism of the 1950s and the realities of class and racial differences. The irony that Frank found in the gloss of American culture and wealth over this tension gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting and cropping that deviated from accepted photographic techniques.

This divergence from contemporary photographic standards gave Frank difficulty at first in securing an American publisher. ''Les Américains'' was first published in 1958 by Robert Delpire in Paris, and finally in 1959 in the United States by Grove Press, where it initially received substantial criticism. ''Popular Photography'', for one, derided his images as "meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness." Though sales were also poor at first, the fact that the introduction was by the popular Kerouac helped it reach a larger audience. Over time and through its inspiration of later artists, ''The Americans'' became a seminal work in American photography and art history, and is the work with which Frank is most clearly identified. In 1961, Frank received his first individual show, entitled ''Robert Frank: Photographer'', at the Art Institute of Chicago. He also showed at MoMA in New York in 1962.

To mark the fiftieth anniversary of the first publication of ''The Americans'', a new edition was released worldwide on May 30, 2008. Robert Frank discussed with his publisher, Gerhard Steidl, the idea of producing a new edition using modern scanning and the finest tritone printing. The starting point was to bring original prints from New York to Göttingen, Germany, where Steidl is based. In July 2007, Frank visited Göttingen. A new format for the book was worked out and new typography selected. A new cover was designed and Frank chose the book cloth, foil embossing and the endpaper. Most significantly, as he has done for every edition of ''The Americans'', Frank changed the cropping of many of the photographs, usually cropping less. Two images were changed completely from the original 1958 and 1959 editions. A celebratory exhibit of ''The Americans'' was displayed in 2009 at the National Gallery of Art in Washington D.C., the San Francisco Museum of Modern Art, and at the Metropolitan Museum of Art in New York.

The second section of the four-section, 2009, SFMOMA exhibition displays Frank’s original application to the John Simon Guggenheim Memorial (which funded the primary work on the ''Americans'' project), along with vintage contact sheets, letters to photographer Walker Evans and author Jack Kerouac, and two early manuscript versions of Kerouac’s introduction to the book. Also exhibited are three collages (made from more than 115 original rough work prints) that were assembled under Frank’s supervision in 2007 and 2008, revealing his intended themes as well as his first rounds of image selection.

Films

By the time ''The Americans'' was published in the United States, Frank had moved away from photography to concentrate on filmmaking. Among his films was the 1959 ''Pull My Daisy,'' which was written and narrated by Kerouac and starred Ginsberg, Gregory Corso and others from the Beat circle. The Beats emphasized spontaneity, and the film conveyed the quality of having been thrown together or even improvised. ''Pull My Daisy'' was accordingly praised for years as an improvisational masterpiece, until Frank's co-director, Alfred Leslie, revealed in a November 28, 1968 article in the ''Village Voice'' that the film was actually carefully planned, rehearsed, and directed by him and Frank, who shot the film with professional lighting.

In 1960, Frank was staying in Pop artist George Segal's basement while filming ''Sin of Jesus'' with a grant from Walter K. Gutman. Isaac Babel's story was transformed to center on a woman working on a chicken farm in New Jersey. It was originally supposed to be filmed in six weeks in and around New Brunswick, but Frank ended up shooting for six months.

His 1972 documentary of the Rolling Stones, ''Cocksucker Blues'', is arguably his best known film. The film shows the Stones while on their '72 tour, engaging in heavy drug use and group sex. Perhaps more disturbing to the Stones when they saw the finished product, however, was the degree to which Frank faithfully captured the loneliness and despair of life on the road. Mick Jagger reportedly told Frank, "It's a fucking good film, Robert, but if it shows in America we'll never be allowed in the country again." The Stones sued to prevent the film's release, and it was disputed whether Frank as the artist or the Stones as those who hired the artist actually owned the copyright. A court order resolved this with Solomonic wisdom by restricting the film to being shown no more than five times per year and only in the presence of Frank. Frank's photography also appeared on the cover of the Rolling Stones' album ''Exile on Main St.''.

Other films by Robert Frank include ''Me and My Brother (film)'', "Sin of Jesus", "Keep Busy", and ''Candy Mountain'' which he co-directed with Rudy Wurlitzer.

Filmography

1959: ''Pull My Daisy'' (mit Alfred Leslie)

1961: ''The Sin of Jesus''

1963: ''O.K. End Here''

1965/68: ''Me And My Brother''

1969: ''Conversations in Vermont''

1969: ''Life-Raft Earth''

1971: ''About Me: A Musical''

1972: ''Cocksucker Blues''

1975: ''Keep Busy'' (Mit Rudy Wurlitzer)

1980: ''Life Dances On''

1981: ''Energy and How to Get It'' (Mit Rudy Wurlitzer und Gary Hill)

1983: ''This Song For Jack''

1985: ''Home Improvements''

1987: ''Candy Mountain'' (Mit Rudy Wurlitzer)

1989: ''Hunter''

1990: ''C’est vrai! (One Hour)''

1992: ''Last Supper''

1994: ''Moving Pictures''

2002: ''Paper Route''

2004, 2008: ''True Story''

Return to still images

thumb|right|200px|''Flamingo'', exhibition catalog for Frank's 1996 Hasselblad Award showThough Frank continued to be interested in film and video, he returned to still images in the 1970s, publishing his second photographic book, ''The Lines of My Hand'', in 1972. This work has been described as a "visual autobiography", and consists largely of personal photographs. However, he largely gave up "straight" photography to instead create narratives out of constructed images and collages, incorporating words and multiple frames of images that were directly scratched and distorted on the negatives. None of this later work has achieved an impact comparable to that of ''The Americans.'' As some critics have pointed out, this is perhaps because Frank began playing with constructed images more than a decade after Robert Rauschenberg introduced his silkscreen composites—in contrast to ''The Americans'', Frank's later images simply were not beyond the pale of accepted technique and practice by that time.

Frank and Mary separated in 1969. He remarried, to sculptor June Leaf, and in 1971, moved to the community of Mabou, Nova Scotia in Cape Breton Island, Nova Scotia in Canada. In 1974, tragedy struck when his daughter, Andrea, was killed in a plane crash in Tikal, Guatemala. Also around this time, his son, Pablo, was first hospitalized and diagnosed with schizophrenia. Much of Frank's subsequent work has dealt with the impact of the loss of both his daughter and subsequently his son, who died in an Allentown, Pennsylvania hospital in 1994. In 1995, he founded the Andrea Frank Foundation, which provides grants to artists.

Since his move to Nova Scotia, Canada, Frank has divided his time between his home there in a former fisherman's shack on the coast, and his Bleecker Street loft in New York. He has acquired a reputation for being a recluse (particularly since the death of Andrea), declining most interviews and public appearances. He has continued to accept eclectic assignments, however, such as photographing the 1984 Democratic National Convention, and directing music videos for artists such as New Order ("Run"), and Patti Smith ("Summer Cannibals"). Frank continues to produce both films and still images, and has helped organize several retrospectives of his art. In 1994, the National Gallery of Art in Washington, DC presented the most comprehensive retrospective of Frank's work to date, entitled ''Moving Out''. Frank was awarded the prestigious Hasselblad Award for photography in 1996. His 1997 award exhibition at the Hasselblad Center in Goteborg, Sweden was entitled ''Flamingo'', as was the accompanying published catalog.

Exhibitions

2008, ''Robert Frank, Paris,'' Museum Folkwang, Essen

2009,'' The Americans,'' National Gallery of Art, Washington D C

2009, ''Robert Frank. Die Filme,'' C/O Berlin, Berlin

Photo Books

1958: ''Les Americains'', French, Published by Robert Delpire, Paris

1959: ''The Americans'', English, introduction by Jack Kerouac

1972: ''The lines of my hand''

1997: ''Flamingo''

2003: ''Twenty-four Photographs''

2006: ''Come again''

2007: ''London/Wales''

2008: ''Die Amerikaner'', German, reconstructed version of "The Americans" by Robert Frank, introduction by Jack Kerouac; Steidl Verlag, Göttingen 2008 in German ISBN 978-3-86521-658-7. In English ISBN 978-3-86521-584-0. In Chinese, itled ''Meiguoren'' ISBN 978-3-86521-657-1

2012: ''Ferne Nähe/Distant Closeness. Hommage für Robert Walser/A Tribute to Robert Walser.'' ISBN: 978-3-9523586-2-7.

Preface

2010: to: ''The Silent Aftermath of Space'', Caleb Cain Marcus, Damiani

Quotes

"When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice." Robert Frank, ''Life'' (26 November 1951), p. 21

"Quality doesn't mean deep blacks and whatever tonal range. That's not quality, that's a kind of quality. The pictures of Robert Frank might strike someone as being sloppy - the tone range isn't right and things like that - but they're far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he's doing, what his mind is. It's not balancing out the sky to the sand and so forth. It's got to do with intention." (Elliott Erwitt)

References

:4. Philip Gefter, ''Snapshots From The American Road'', The New York Times, Dec. 14, 2008

Further reading

Alexander, Stuart. – Robert Frank: A Bibliography, Filmography, and Exhibition Chronology 1946-1985. ISSN 0739-4845 LOC#: 86-071793

Frank, Robert. – Robert Frank: Storylines (Turtleback) ISBN 3-86521-041-4

Frank, Robert. – Twenty-four Photographs. In: Corina Caduff and Reto Sorg (Ed.): Nationalliteraturen heute – ein Fantom? Tradition und Imagination des Schweizerischen als Problem. Programmheft zur Internationalen Tagung vom 18. bis 21. Juni 2003 im Schauspielhaus Zürich. Mit Originalbeiträgen von Robert Frank und Michail Schischkin. Thun: Report 2003 [Switzerland]. ISBN 3-907591-30-5

Green, Jonathan. – American Photography: A Critical History (Abrams). ISBN 0-8109-1814-5 Chapter 5, "The Americans: Politics and Alienation"

Janis, Eugenia Parry and Wendy MacNeil, eds. – Photography Within the Humanities, Addison House Publishers, Danbury, NH, 1977. ISBN 0-89169-013-1, see pp. 52–65 for the transcript of a talk and interview with Robert Frank, conducted at Wellesley College on 14 April 1975

Leo, Vince. – Robert Frank: From Compromise to Collaboration. ("Parkett" Issue 42 1994 Pg 8-23)

Nericcio, William Anthony. – Cinematography, Photography, and Literature: The Aesthetic Triptych of Robert Frank (MOPA, San Diego, 2000) An online essay on ''Pull My Daisy'' with illustrations and film-clip

Papageorge, Tod. – Walker Evans and Robert Frank: An Essay on Influence, New Haven, CT, Yale University Art Gallery, 1981. ISBN 0-89467-015-8

Sandeen, Eric. – Picturing An Exhibition. ISBN 0-8263-1558-5, see chapter 5: "Edward Steichen, Robert Frank, and American Modernism"

Tucker, Anne and Philip Brookman, eds. – New York to Nova Scotia ISBN 3-86521-013-9 Hardcover: ISBN 0-8212-1623-6

Gefter, Philip. - Photography After Frank (Aperture, 2009): ISBN 978-1-59711-095-2

Bibliographies

Frank Bibliography (via UC Berkeley)

External links

Robert Frank’s Masterpiece: “The Americans” at 50

Looking In: Robert Frank's "The Americans", National Gallery of Art

Robert Frank at the Art Institute of Chicago

Elson Lecture 2009: Robert Frank, National Gallery of Art

"Seeing Beauty in Our Shadows Robert Frank's 'The Americans,' unpopular when first published, has shaped the way America looks at itself," The Wall Street Journal, September 19-20, 2009

Reading the Modern Photography Book: Changing Perceptions, National Gallery of Art

Rare Robert Frank available online.

Tod Papageorge on Walker Evans and Robert Frank

Tate Modern: Robert Frank

''Frank Films''

Essay

'Robert Frank: Dissecting The American Image' by Jno Cook

Illustrated book review of The Americans

Category:American photographers Category:American film directors Category:American expatriates in Canada Category:Swiss emigrants to the United States Category:American people of Swiss-Jewish descent Category:Swiss Jews Category:Guggenheim Fellows Category:People from Inverness County, Nova Scotia Category:People from New York Category:1924 births Category:Living people Category:Street photographers

cs:Robert Frank da:Robert Frank de:Robert Frank es:Robert Frank eu:Robert Frank fr:Robert Frank (photographe) it:Robert Frank he:רוברט פרנק nl:Robert Frank ja:ロバート・フランク pl:Robert Frank ru:Франк, Роберт fi:Robert Frank

bgcolour	#6495ED
name	Danny Lyon
birth name	Daniel Lyon
birth date	March 16, 1942
birth place	Brooklyn, New York
nationality	American
spouse	Nancy Lyon
movement	New Journalism
works	The Bikeriders, The Destruction of Lower Manhattan, Conversations With The Dead, I Like To Eat Right On The Dirt, Like A Thief's Dream
website	}}

Danny Lyon (born March 16, 1942) is a self-taught American photographer and filmmaker. He was born in 1942 in Brooklyn, New York and is the son of Russian-Jewish mother Rebecca Henkin and German-Jewish father Ernst Fredrick Lyon. Danny was raised in Kew Gardens, Queens and went on to study history at the University of Chicago, where he graduated with a Bachelor of Arts degree in 1963.

That same year, he published his first photographs working for the Student Nonviolent Coordinating Committee. His pictures appeared in ''The Movement'', a documentary book about the Southern Civil Rights Movement.

Later, Lyon began creating his own books. His first, was a study of outlaw motorcyclists in the collection ''The Bikeriders'' (1967), where Lyon did more than just photograph motorcyclists in the American Midwest from 1963 to 1967. Additionally, he also became a member of the Chicago Outlaws motorcycle club and traveled with them, sharing their lifestyle. According to Lyon himself, the photographs were "an attempt to record and glorify the life of the American bikerider." The series was immensely popular and influential in the 1960s and 1970s. During the 1970s, he also contributed to the Environmental Protection Agency's DOCUMERICA project.

''The Destruction of Lower Manhattan'' (1969) was Lyon's next work, published by Macmillan Publishers in 1969. The book documents the large-scale demolition taking place throughout Lower Manhattan in 1967. Included are photographs of soon to be demolished streets and buildings, portraits of the neighborhood's last remaining stragglers and pictures from within the demolition sites themselves. The book originally sold for one dollar each, but soon attained the status of a collector's item. It was later reprinted in 2005.

''Conversations with the Dead'' (1971), was published with full cooperation of the Texas Department of Corrections. Lyon photographed in six prisons over a fourteen month period in 1967 to 1968. The series was printed to book in 1971 by Holt publishing. The introduction of Lyon's book points to a statement of purpose that the penal system of Texas is symbolic for incarceration everywhere. He states, "I tried with whatever power I had to make a picture of imprisonment as distressing as I knew it to be in reality."

Lyon befriended many of the prisoners. The book also includes texts taken from prison records, letters from the convicts, and inmate artwork. In particular, the book focuses on the case of Billy McCune, a convicted rapist whose death sentence was commuted to life in prison during the climax of the book's popularity. In the foreword, Lyon describes Billy as a diagnosed psychotic, who one evening, while awaiting execution, "cut his penis off to the root and, placing it in a cup, passed it between the bars to the guard."

All of Lyon's publications work in the style of photographic New Journalism, meaning that the photographer has become immersed, and is a participant, of the documented subject.

Danny Lyon received the Guggenheim Foundation Fellowship for photography in 1969, and in film making in 1979. He has had solo exhibits at the Whitney Museum of American Art, the Museum of Modern Art, the Art Institute of Chicago, and the Center for Creative Photography at the University of Arizona. He is the founding member of the photography group ''Bleak Beauty.'' He was greatly encouraged in his documentary work by curator Hugh Edwards.

See also

Photographers of the American Civil Rights Movement

References

External links

BLEAK BEAUTY the official Danny Lyon website

"Stubbornly Practicing His Principles of Photography," New York Times, April 26, 2009

Photos by Danny Lyon

DANNY LYON blogs as DEKTOL

Danny Lyon "Conversations with the Dead" Exhibition at Gendell Gallery

Category:1942 births Category:Living people Category:American Jews Category:American photographers Category:American photojournalists Category:Motorcycling writers Category:University of Chicago alumni

cs:Danny Lyon

Birth date	January 14, 1928
Birth place	New York, New York,United States
Death date	March 19, 1984
Death place	Tijuana, Mexico
Influences	Walker Evans, Robert Frank
Nationality	American
Occupation	Photographer
Years active	}}

Garry Winogrand (14 January 1928, New York City – 19 March 1984, Tijuana, Mexico) was a street photographer known for his portrayal of America in the mid-20th century. John Szarkowski called him the central photographer of his generation.

Winogrand was influenced by Walker Evans and Robert Frank and their respective publications ''American Photographs'' and ''The Americans''. Henri Cartier-Bresson was another influence although stylistically different.

Winogrand was known for his portrayal of American life in the early 1960s. Many of his photographs depict the social issues of his time and in the role of media in shaping attitudes. He roamed the streets of New York with his 35mm Leica camera rapidly taking photographs using a prefocused wide angle lens. His pictures frequently appeared as if they were driven by the energy of the events he was witnessing.

Winogrand's photographs of the Bronx Zoo and the Coney Island Aquarium made up his first book ''The Animals'' (1969), a collection of pictures that observes the connections between humans and animals. His book ''Public Relations'' (1977) shows press conferences with deer-in-the-headlight writers and politicians, protesters beaten by cops, and museum parties frequented by the self-satisfied cultural glitterati. These photographs capture the evolution of a uniquely 20th and 21st century phenomenon, the event created to be documented. In ''Stock Photographs'' (1980), Winogrand published his views of the Fort Worth Fat Stock Show and Rodeo.

At the time of his death there was discovered about 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and contact sheets made from about 3,000 rolls. The Garry Winogrand Archive at the Center for Creative Photography (CCP) comprises of over 20,000 fine and work prints, 20,000 contact sheets, 100,000 negatives and 30,500 35mm colour slides as well as a small group of Polaroid prints and several amateur motion picture films.

Biography

Winogrand grew up in the then predominantly Jewish working-class area of the Bronx, New York, where his father, Abraham, was a leather worker, and his mother, Bertha, made neckties for piecemeal work.

Winogrand studied painting at City College of New York and painting and photography at Columbia University in New York City in 1948. He also attended a photojournalism class taught by Alexey Brodovich at The New School for Social Research in New York City in 1951.

In the early 1960s Winogrand photographed on the streets of New York City alongside Joel Meyerowitz, Lee Friedlander, Tod Papageorge and Diane Arbus.

In 1955 two of Winogrand’s photos appeared in The Family of Man exhibition at the Museum of Modern Art (MoMA), New York. Winogrand's first one-man show was held at Image Gallery in New York City in 1959. His first notable appearance was in ''Five Unrelated Photographers'' in 1963, also at MoMA in New York City, along with Minor White, George Krause, Jerome Liebling and Ken Heyman. In 1966 Winogrand exhibited at the George Eastman House in Rochester, New York with Lee Friedlander, Duane Michals, Bruce Davidson, and Danny Lyon in an exhibition entitled ''Toward a Social Landscape.'' In 1967 he participated in the ''New Documents'' show at MoMA in New York City with Diane Arbus and Lee Friedlander, curated by John Szarkowski.

John Szarkowski, the Director of Photography at New York's Museum of Modern Art, became an editor and reviewer of Winogrand's work. Szarkowski called him the central photographer of his generation.

In 1964 Winogrand was awarded a Guggenheim Fellowship Award to travel through America. Some of the results of this work were shown in the New Documents exhibition. He was awarded his second Guggenheim Fellowship in 1969 to continue exploring media events and their effect on the public. Between 1969 and 1976 Winogrand shot about 700 rolls of film at public events, producing 6,500 eleven by fourteen inch prints for Tod Papageorge to select for the exhibition and book ''Public Relations''. Winogrand received a National Endowment for the Arts Fellowship in 1975. In 1979 with his third Guggenheim Fellowship he moved to Los Angeles to document California. While in LA he developed 8522 rolls of film.

Winogrand worked as a commercial photographer between 1952 and 1954 at the Pix Photo Agency in Manhattan and from 1954 at Brackman Associates.

Between 1971 and 1972 Winogrand taught photography at the Institute of Design, Illinois Institute of Technology in Chicago and between 1973 and 1978 at the University of Texas in Austin.

In 1952 Winogrand married Adrienne Lebow, separating in 1963 and divorcing in 1966, they had two children, Laurie and Ethan. Around 1967 Winogrand married his second wife Judy Teller, they were together until 1969. In 1972 he married Eileen Adele Hale, with whom he had a daughter, Melissa.

Winogrand died of gall bladder cancer, in 1984 at age 56. As evidence of his prolific nature, Winogrand left behind nearly 300,000 unedited images. Some of these images have been exhibited posthumously, and published by MoMA in the overview of his work ''Winogrand, Figments from the Real World''.

Quotations by Garry Winogrand

"A photograph is the illusion of a literal description of how the camera 'saw' a piece of time and space."

"Photography is not about the thing photographed. It is about how that thing looks photographed."

"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 know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs." (In reference to his book, "Women Are Beautiful.")

"All things are photographable."

"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."

Books

The Animals. 1969. Museum of Modern Art, New York. ISBN 0-37451-301-5

Women are Beautiful. 1975. Light Gallery / Farrar, Straus & Giroux. ISBN 0-87070-633-0

Public Relations. 1977. Museum of Modern Art, New York

Stock Photographs: The Fort Worth Fat Stock Show and Rodeo. 1980. Olympic Marketing Corp. ISBN 0-292724-33-0

The Man in the Crowd: The Uneasy Streets of Garry Winogrand. 1998. Fraenkel Gallery. ISBN 1-881337-05-7

The Game of Photography. 2001. Tf Edition. ISBN 8-49518-366-8

Winogrand 1964. 2002. Arena Editions. ISBN 0-374513-01-5

Arrivals & Departures: The Airport Pictures of Garry Winogrand. 2002. Charles Rivers. ISBN 1-891024-47-7

Figments from the Real World. 2003. Museum of Modern Art, New York. ISBN 0-87070-635-7

Exhibitions

Selected Solo Exhibitions

1986. "Little-known Photographs by Garry Winogrand", Fraenkel Gallery, San Francisco

1985. Williams College Museum of Art, Williamstown, Massachusetts

1984

*"Recent Works", Houston Center for Photography, Texas

* "Women are Beautiful", Zabriskie Gallery, New York

* "Garry Winogrand: A Celebration", Light Gallery, New York

1983. "Big Shots, Photographs of Celebrities, 1960-80", Fraenkel Gallery, San Francisco

1981

* Light Gallery, New York

* The Burton Gallery of Photographic Art, Toronto

1980

* Galerie de Photographie, Bibliotheque Nationale, Paris

* "Garry Winogrand: Retrospective", Fraenkel Gallery, San Francisco,

* University of Colorado, Boulder

1979

* "Greece", Light Gallery, New York

* "The Rodeo", Alan Frumkin Gallery, Chicago

1977

* The Cronin Gallery, Houston

* Light Gallery, New York

1975. "Women are Beautiful", Light Gallery, New York

1972. Light Gallery, New York

1969. "The Animals", The Museum of Modern Art, New York

Selected Group Exhibitions

1983. "Masters of the Street: Henri Cartier-Bresson, Josef Koudelka, Robert Frank and Garry Winogrand", University Gallery, University of Massachusetts, Amherst

1981

* "Central Park Photographs: Lee Friedlander, Tod Papageorge and Garry Winogrand", The Dairy in Central Park, New York, 1980

* "Bruce Davidson and Garry Winogrand", Moderna Museet / Fotografiska Museet, Stockholm, Sweden

* "Garry Winogrand, Larry Clark and Arthur Tress", G. Ray Hawkins Gallery, Los Angeles

1978. "Mirrors and Windows: American Photography since 1960", The Museum of Modern Art, New York

1977. "Public Relations", The Museum of Modern Art, New York

1976. "The Great American Rodeo", The Fort Worth Art Museum, Texas

1975. "14 American Photographers", The Baltimore Museum of Art, Maryland

1971. "Seen in Passing", Latent Image Gallery, Houston

1970. "The Descriptive Tradition: Seven Photographers", Boston University, Massachusetts

1969. "New Photography USA", Traveling exhibition prepared for the International Program of The Museum of Modern Art, New York

1967. "New Documents", The Museum of Modern Art, New York City with Diane Arbus and Lee Friedlander, curated by John Szarkowski

1964. "The Photographer’s Eye", The Museum of Modern Art, New York

1963. "Photography ‘63", The George Eastman House of Photography, Rochester, New York

1957. "Seventy Photographers Look at New York", The Museum of Modern Art, New York

1955. "The Family of Man", The Museum of Modern Art, New York

References

External links

Garry Winogrand & Bill Moyers video, with transcript

Winogrand's overview

Coffee and Workprints: A Workshop With Garry Winogrand

Another Workshop With Garry Winogrand

An Interview with Garry Winogrand

Review of Winogrand, Figments from the Real World, by Philip Greenspun

Garry Winogrand: Huge Influence, Early Exit, by Frank Van Riper

Garry Winogrand's Leica M4

Photography as a Framing Art

Category:1928 births Category:1984 deaths Category:American photographers Category:People from Austin, Texas Category:People from New York City Category:Street photographers Category:Guggenheim Fellows

cs:Garry Winogrand de:Garry Winogrand el:Γκάρι Γουίνογκραντ es:Garry Winogrand fr:Garry Winogrand it:Garry Winogrand hu:Garry Winogrand nl:Garry Winogrand pt:Garry Winogrand ru:Виногранд, Гарри

Ruth-Marion Baruch is a photographer most famous for her pictures of the San Francisco Bay Area in the 1960s. These include a series on the Black Panther Party taken from July to October 1968 in collaboration with photographer Pirkle Jones, and a series on the hippies of Haight-Ashbury.

Baruch was born in Berlin on June 15, 1922, and later moved to the United States, where she studied photography at Ohio University (receiving an MFA) and at the California School of Fine Arts in San Francisco.

References

External links

All Ruth-Marion Baruch Images Online Center for Creative Photography (CCP) CCP at the University of Arizona has released a digital catalog of all Baruch's images.

Catalogue description of Baruch's book of poetry, ''A Dangerous Thing'', featuring a short biographical note

Category:American photographers Category:1922 births Category:Living people Category:People from Berlin Category:Ohio University alumni