
Garry WinograndCape Cod

Garry WinograndLos Angeles

Garry WinograndNew York

Garry WinograndNew York

Garry WinograndCentral Park, New York

Garry WinograndCentennial Ball, Metropolitan Museum, New York

Garry WinograndUntitled

Winogrand published this monograph in 1975, at the height of the feminist movement. In the book’s introduction, he writes, “Whenever I’ve seen an attractive woman, I’ve done my best to photograph her. 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.”
Winogrand published this monograph in 1975, at the height of the feminist movement. In the book’s introduction, he writes, “Whenever I’ve seen an attractive woman, I’ve done my best to photograph her. 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.”
Winogrand photographed in airports to assuage his own fear of flying, arriving hours ahead of scheduled trips to distract himself with work. The pictures capture the chaotic anxiety of travel set within the serene architecture of airport terminals.
Winogrand’s early work shows a radical departure from the style of documentary photographers. Unattached to persons or outcomes, the artist takes pleasure in simply observing the human dramas and absurdities that play out in public spaces.
“Winogrand’s best work had a powerful and distinctive authority. The nervous, manic, nearly chaotic quality was an appropriate formulation of a sense of life that was balanced somewhere between animal high spirits and an apprehension of moral disaster.” —John Szarkowski
In images made throughout the 1960s and 70s from New York to Los Angeles, Winogrand explores an American society in flux. As the artist had said, “You could say that I am a student of photography, and I am; but really I’m a student of America.”