In writing about Garry Winogrand’s 2014 Metropolitan Museum of Art retrospective, Arthur Lubow explores the controversy surrounding Winogrand’s last undeveloped negatives. Leo Rubinfien, an organizer of the exhibition, tells Lubow he hoped the exhibition would overturn John Szarkowski’s dismissal of Winogrand’s late work, and show the work deserved attention. Lubow goes on to write about the history of the persistent idea that photography is simply a mechanical craft, and not truly a form of art.
Read Arthur Lubow’s story in The New York Times.