The Animals. Photographs by Garry Winogrand. With an afterword by John Szarkowski. Museum of Modern Art, New York, 1969. Unpaged. Small oblong quarto. First Edition. Stiff illustrated wrappers. 44 black-and-white reproductions.
Fine-; light rubbing and shelf-wear.
Women Are Beautiful. Photographs by Garry Winogrand. Essay, "First Person, Feminine", by Helen Gary Bishop. Light Gallery Books, New York, 1975. 94 pp. Squarish quarto. Clothbound in photo-illustrated dust jacket. Numerous black-and-white illustrations printed by Rapoport.
Faint trace of wear to lower edges; a slight whiff of mustiness, but no visible foxing; otherwise Fine+/Fine+--a sweet copy!!
Last year the San Francisco Museum of Modern Art hosted the first major Winogrand retrospective in 25 years. The show was jointly organized by and the National Gallery of Art. On the block are two books that most would regard as his very best.
Winogrand's first book is a wry look at animals in the zoo and the people observing them. "I photograph to find out what the world looks like in a photograph," Winogrand famously said. "Certainly, if not directly social, Winogrand's images would seem to talk of social things," write Parr and Badger. "The overriding tenor of his imagery was an elemental angst a the human condition, making him--for all his outward ebullience--one of the most pessimistic photographers." Also included in Roth, Andrew Roth (ed.): The Book of 101 Books and 802 Photo Books. A selection from the M+M. Auer collection
Included in the 'Roth 101' and 802 Photo Books. A selection from the M+M. Auer collection.
In the jacket copy for Women Are Beautiful, Winogrand writes, "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." A canonical work of candid and street photography that depicts women in ways that whimsically counter traditional stereotypes of feminine beauty. A nice example of the increasingly rare hardbound edition of Winogrand's masterpiece.
From the SFMOMA press release:
"Born in the Bronx, Winogrand did much of his best-known work in Manhattan during the 1960s, and in both the content of his photographs and his artistic style he became one of the principal voices of that eruptive decade—so much so that influential Museum of Modern Art curator John Szarkowski anointed him 'the central photographer of his generation.'
Known primarily as a street photographer, Winogrand, who is often associated with famed contemporaries Diane Arbus and Lee Friedlander, photographed with dazzling energy and incessant appetite, exposing some 20,000 rolls of film in his short lifetime."
"Winogrand worked at a moment when the boundaries between journalistic and artistic photography were less certain than they had ever been, yet it was also a time when the most advanced photographers were consciously abandoning journalistic values," says [Sarah] Greenough. "The social landscape he photographed—the dislocation of urban life, the rise of the suburb with its growing alienation, the skepticism of youth, and the collusion of the press and the powerful—was of concern to many Americans. Yet Winogrand rarely pursued an obvious means to explicate these ideas, preferring poetic evocation over intelligible journalism."