Posted: Wednesday, September 17, 2014
What do a tropical bird, fruit, and a new box of crayons all have in common? Well, they're bright and full of color, of course—something that can't be found within the array of photographs in the Met's current exhibition Garry Winogrand, on view through September 21. Growing up, I was always told, "Not everything is black and white…" But who says it can't be?
Posted: Friday, September 12, 2014
1. (of signals or data) expressed as series of the digits 0 and 1, typically represented by values of a physical quantity such as voltage or magnetic polarization.
1.1. relating to, using, or storing data or information in the form of digital signals. "digital TV"
1.2. involving or relating to the use of computer technology. "the digital revolution"
noun; plural noun: stories
1. an account of imaginary or real people and events told for entertainment. "an adventure story"
And that's just what a photograph is, a digital story, right?
Posted: Friday, September 5, 2014
There is no doubt that photography deserves to be considered an art form. Just like painting, sculpture, and countless other media, it dares you as a photographer to see things in ways no one has before. It allows you to be unique and capture life around you. Artists were doing this for centuries before the first camera was even invented. However, with the advent of photography, for the first time moments could be captured in a flash. A subject did not need to hold still for a painter or pose endlessly for a sculptor. Photography broke down the facade and revealed moments of life more accurately than ever before. Garry Winogrand was able to show this through thousands of his candid street shots. Most people did not realize that they were being photographed, showing real expressions instead of posing with a phony smile.
Posted: Tuesday, September 2, 2014
In a taped 1977 interview at Rice University, Garry Winogrand sits before a panel of students in the most casual position: his feet are propped up onto the podium before him and he leans back, relaxed, with his hands behind his head—the ultimate posture of a carefree New Yorker. Winogrand's conversational and, at times, sarcastic tone reveals how he does not take himself too seriously. In his answers, he makes his photographic process seem quite simple: a matter of waiting for spontaneity and a having a quick eye to capture it. Despite his quick pace when photographing, Winogrand was able to give his chance encounters great meaning, effectively using light and interesting angles to powerfully capture the fast-moving American culture.
Posted: Friday, August 29, 2014
Garry Winogrand constantly contemplated and experimented with society's notions of beauty, especially its views on women. He once said that the reason we photograph is "to learn who we are and how we feel." I think his photographs are less about the subject and more about the society that surrounds them. Women, from the moment they step out of their houses, are expected to maintain a certain standard of self-presentation and appearance. Winogrand photographed women who were in this "presentable" state but shot them candidly, not posed. He took away the subject's ability to consciously present herself, capturing the space between her inner, subconscious beauty and societal preconceptions of it.
Posted: Friday, August 22, 2014
I consider Garry Winogrand's photographs found in the current exhibition of his work to be a collection of perfect mistakes. "Perfect" because, even though the subject is often not posing or even looking straight at the camera, there is something about the picture that makes it incredibly engaging. The very same picture can simultaneously feel like a "mistake," however, since it may capture people who are either unaware they are being photographed or are unhappy about it. In some cases, it feels to me like Winogrand accidentally pressed the shutter button. Normally people have to pose or look at the camera in order for a photograph to be considered successful, but Winogrand instead intended to capture these unguarded people and moments.
Posted: Tuesday, August 19, 2014
Garry Winogrand's street photography, currently on view in an eponymous exhibition at the Museum, is often astonishingly candid and real. But would he have been able to use his distinct style today? The Internet has made it easier than ever to share photos and spread them around. But it's also made people far more self-conscious when being photographed and, dare I say, more frightened of the camera.
Posted: Friday, August 15, 2014
Today, with the special features on DSLRs, you can get a good shot even in difficult lighting environments. You can also use Photoshop and special effects to alter photographs after they've been taken. But imagine a time in which photo editing was not as common and photography was not as easy to do as it is today.
Posted: Friday, August 8, 2014
In the words of Garry Winogrand, subject of the current exhibition bearing his name, "If you didn't take the picture, you weren't there." Today, when most people hear a bizarre story, they want to have some sort of evidence, like a photograph. They want to see whatever happened with their own eyes. Winogrand upends this scenario. Instead, he simply provides the proof, and denies the audience the story behind it.
Posted: Tuesday, August 5, 2014
It's a human tendency to take apart what's put in front of us. But more importantly, we have a selfish desire to connect a piece of artwork to our lives in some way. We may feel almost dead if we are unable to connect the artwork to some greater philosophical idea that we believe to be present. While there is nothing wrong with that process, the artist may not agree with your interpretation, as the work may in fact have no underlying meaning. The artist may have simply created the piece because of its aesthetics.