In Garry Winogrand’s Color, color slides wink in and out of existence as images are paired in small visual novellas.
If the nostalgic atmosphere of the photographer’s black-and-white images threatens to obscure his compositional acuity these Kodachrome slides dispel it handily.
Interlopers and transplants convey the decay and loveliness of a place in works from 1750 – 1969.
A complex portrait of the photographer emerges in the documentary All Things are Photographable directed by Sasha Waters Freyer.
A deserved tribute to Garry Winogrand is turning into an ethical morass that does no one any good.
On Thursday, a cache of recently discovered photos taken by the great Garry Winogrand (1928-1984) at the 1960 Democratic National Convention was released by The New York Times.
Writing for the Guardian, Sean O’Hagan is wondering how our recent laws governing privacy and surveillance are impacting the art form we’ve come to know as Street Photography.