Garry Winogrand by Sarah Greenough
(San Francisco Museum of Modern Art)

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...he is one of the giants of postwar American photography and, excellent as this book is, we can only hope the accompanying exhibition will make it to these shores soon.
-Guardian

Synopsis

Widely regarded as one of the most important photographers of the 20th century, Garry Winogrand (1928–1984) did much of his best-known work in Manhattan during the 1960s, becoming an epic chronicler of that tumultuous decade. But Winogrand was also an avid traveler and roamed extensively around the United States, bringing exquisite work out of nearly every region of the country.

This landmark retrospective catalogue looks at the full sweep of Winogrand’s exceptional career. Drawing from his enormous output, which at the time of his death included thousands of rolls of undeveloped film and unpublished contact sheets, the book will serve as the most substantial compendium of Winogrand’s work to date. Lavishly illustrated with both iconic images and photographs that have never been seen before now, and featuring essays by leading scholars of American photography, Garry Winogrand presents a vivid portrait of an artist who unflinchingly captured America’s swings between optimism and upheaval in the postwar era.

 

About Sarah Greenough

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Leo Rubinfien is a photographer and essayist in New York City. Sarah Greenough is senior curator and head of the department of photographs at the National Gallery of Art, Washington, D.C. Susan Kismaric was curator of photographs at the Museum of Modern Art for over thirty-five years. Erin O'Toole is assistant curator of photography at the San Francisco Museum of Modern Art. Tod Papageorge is Walker Evans Professor of Photography at Yale University. Sandra Phillips is senior curator of photography at the San Francisco Museum of Modern Art.
 
Published April 2, 2013 by Yale University Press. 448 pages
Genres: History, Arts & Photography.
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Guardian

Excellent
Reviewed by Sean O'Hagan on May 18 2013

...he is one of the giants of postwar American photography and, excellent as this book is, we can only hope the accompanying exhibition will make it to these shores soon.

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