In the early 1960s, most photographs were taken for a purpose, and that purpose was for news articles, magazines, or advertisement. There was very little consideration of photography as art. This change in the way photography was approached was in large part to photographers such as Garry Winogrand, who turned photography into an art.
Winogrand symbolized a new generation of photographers on the rise in the mid-1960s known as “street photographers.” While each photo is of simple, everyday life, they each contain an individual message and meaning much deeper than what was seen through the lens. His impact is still being felt in photography today and has been identified as a turning point in American photographic history.
Garry Winogrand was born on January 14, 1928 in the Bronx in New York City. His parents were Abraham and Bertha, a leatherworker and seamstress. Winogrand was brought up in a predominately Jewish working class area of New York. At a young age, Winogrand began practicing what would be his legacy. Late at night, he would walk the streets of New York; it was here that he found privacy and solitude. After high school, Winogrand was enlisted in the United States Air Force, after which he used his GI Bill to return to school. He studied painting at City College of New York, after which he studied painting and photography at Columbia University until 1948 (Evans). In 1951, Winogrand’s passion for photography really took flight while at Columbia, he met classmate George Zimbel and together they started the ‘Midnight to Dawn Club’; photographing by day and developing all through the night. He enrolled in a photojournalism class taught by Alexey Brodovitch at the New School for Social Research. Brodovitch rose to fame in...
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For Emerson, the reticent beauty of nature was the motivator. To him, photography should be recognized because its still-life beauty was able to persuade the public’s appreciation of the life and nourishment
Johnson, Brooks. Photography Speaks: 150 Photographers on their Art.” New York: Aperture Foundation Inc., 2004. Print.
Minor White was an American Photographer and considered one of the most influential photographers of the post WWII era. He was not only a photographer but a teacher of the medium as well as one of the founders of Aperture Magazine which is still around today (Stamberg).
It’s his compassion for his subjects and his commitment to them that surpasses the act of making a pretty picture. Spending days with his subjects in the slums of Harlem or the hardly developed mountains of West Virginia, he immerses himself into the frequently bitter life of his next award-winning photo. Often including word for word text of testimonials recorded by junkies and destitute farmers, Richards is able to provide an unbiased portrayal. All he has done is to select and make us look at the faces of the ignored, opinions and reactions left to be made by the viewer. Have you ever been at the beach safely shielded by a dark pair of sunglasses and just watched?
5 Light, Ken. Tremain, Kerry. Witness in our Time: Working Lives of Documentary Photographers. Washington and London: Smithsonian Institution Press, 2000.
Photography and portraiture is a powerful medium for art. Through photography and portraiture we are able to capture the essence and being of individuals and moments. Many artists that primarily work within these genres do so for that very reason. Famous photographer Robert Mapplethorpe was no different, using his photographs to capture portraits of the various characters that made up the fabric of his social existence as a gay white male living in New York City. Robert Mapplethorpe, as a member of a fringe lifestyle and culture within America, wanted to utilize his work to bring to the public conscious, recognition and appreciation of these fringe groups and cultures, even if it required shocking depictions and imagery.
"A photograph is not merely a substitute for a glance. It is a sharpened vision. It is the revelation of new and important facts." ("Heilbrunn Timeline of Art History."). Sid Grossman, a Photo League photographer expressed this sentiment, summarizing the role photography had on America in the 1940’s and 50’s. During this era, photojournalism climaxed, causing photographers to join the bandwagon or react against it. The question of whether photography can be art was settled a long time ago. Most major museums now have photography departments, and the photographs procure pretty hefty prices. The question of whether photojournalism or documentary photography can be art is now the question at hand. Art collectors are constantly looking to be surprised; today they are excited by images first seen in last week’s newspapers as photojournalism revels in the new status as art “du jour” or “reportage art”.
Steven Winn. "PAINTING A PICTURE OF THE CREATIVE MIND / It's in this delicate negotiation of conscious choices and unconscious summons that art finds its form and communicative power :[FINAL Edition]. " San Francisco Chronicle 28 May 2007, ProQuest Newsstand, ProQuest. Web. 15 Feb. 2011.
The film Basquiat explores the artist Jean-Michel Basquiat, a Haitian-Puerto Rican painting in New York City during the 1980s. Working closely with Andy Warhol, Basquiat was exploited for his unique “urban ghetto” graffiti and crude style of representation. Schnabel’s film further exploits this image of the painter, depicting him in various scenes of poverty and drug addiction, dirty poor love and desperation. Our understanding of the artist is framed by excerpts from essays by art critic Rene Ricard, depicted as a flaming homosexual who leeches off of his artistic friends. Ricard observes the hypocrisy and self-indulgence of the art scene that is vital to...
Masters. With his small hand camera he unobtrusively photographed people’s lives around the world. He was solely responsible for bridging the gap between photojournalism and art. He has published more than a dozen books of his work. The greatest museums in the world have shown his work.
Photography gives us a greater resemblance to what is portrayed as paintings can be askew from reality as the artist can have a bias, although, a camera takes in light and gives us a more accurate depiction. During the 1860s it was typical for photography to be black and white as the only way to photography was in black and white (New York
The book “On Photography” by Susan Sontag, she expresses several views and ideas about photography to educate us further about her views. In Sontag’s view, “To collect photographs is to collect the world” (Sontag 3). In other words, Sontag believes that the photograph that is taken will always be a photograph within society in his/her own world. I interpret the quote this way because if our life is captured in photographs, that’s our whole world. Even though we are capturing it through the lenses, we are still experiencing it some how, some way.
Diane Arbus was born Diane Nemerov to a wealthy Jewish family in New York City on March 14, 1923. She was the second of three children, between her elder brother Howard Nemerov, a prize-winning poet and her younger sister Renee Sparkia, who became a sculptor and designer. Her father, David Nemerov was a very successful businessman. He married Gertrude Russek, whose family had started Russek's Fur store which later became Russek's of Fifth Avenue under David's management. At the age of fourteen Diane met Allan Arbus, who was nineteen, working in the art department of Russek’s. They became deeply involved with each other and fell in love. Although her parents did not approve of their affair, Diane and Allan continued to meet in secrecy for the next four to five years. Soon after Diane turned 18, they were married by a rabbi on April 10, 1941. Faced with reality, her parents gave their blessing to the marriage. They were married for twenty-eight years, and had two children Doon and Amy Arbus. Although Diane and Allan separated after nineteen years, Allan continued to be a emotional support in her life. It was Allan who introduced Diane to photography, when her father gave the couple their first job making advertisement photographs for his store. Allan always encouraged Diane to take her own photos and creativity, but she began to hate the world of fashion photography and start...
Marrs, Suzanne. Eudora Welty(tm)s Photography: Images into Fiction. Critical Essays on Eudora Welty. W. Craig Turner and Lee Emling Harding. Boston, MA: G.K. Hall, 1989. 288-289.
I am quite interested in the topic of street photography; one of the biggest reasons is because in most cases street photography is very real. Street photography is all candid images, they are not posed, they are not set up; but they are real, they are in the moment and most of the time the artists are so stealthy about the way that they capture the photographs that no one really ever knows that they are even taking the photographs. There are a few photographers that are very important to street photography that I would like to talk about; Robert Frank, Lee Friedlander, Diane Arbus and Winogrand. These are photographers really created what people might consider to be the face of street photography, you can think of street photography without thinking of one of their works. Personally, I am very fascinated with street photography. I believe it to be very beautiful. In my opinion street photography seems to be a lot similar to photojournalism, in the way that both of the photography styles are extremely, I do not know if I would use the word ‘candid’, I am not sure if that would be exactly the right way of putting it, however maybe the right word would be more like, well a phrase really, both of the photography styles of both photojournalism and street photography are really quite in the moment, they are not set up, instead of making the shot perfect, finding the camera angles and waiting for just the right moment to make that image wonderful and amazing.