Garry Winogrand: All Things Are Photographable

"A tour through Winogrand's unique sensibility and a changing America, the film charts a career now enshrined in the canon of photography but which was, like most artists' lives, more difficult in the living." - Burnaway

Art, Design, Achitecture. "Thirty years after the Museum of Modern Art’s posthumous 1988 retrospective of the work of photographer Garry Winogrand comes Garry Winogrand: All Things Are Photographable, is a balanced and deeply satisfying documentary assessment of the late photographer’s work.
Winogrand’s muscular, sometimes chaotic pictures of the urban street — mostly shot in black-and-white, though he also briefly dabbled in color — celebrate what one commentator calls a 'vulgar American energy.' Yet despite this undeniably macho aesthetic the artist is also described, just as aptly, as a 'poet', a 'choreographer' and even a 'philosopher.'

"Winogrand, in recordings taken from lectures, interviews and casual conversations, betrays a surprisingly contemplative attitude toward the act of picture making. The job of the artist, he says, is not to solve problems, but to articulate them. For Winogrand, that means the central question of photography is: How do you make a picture that is more interesting — more beautiful, more dramatic — than what just happened?
Photography, then, isn’t just a record of light on a surface, as he argues elsewhere in the film, but an artifact that transcends documentary.

"What’s most fascinating about Winogrand’s art is its hybrid nature, as All Things are Photographable makes clear. On the one hand, its loose, gritty nature is in stark contrast to the Photoshopped imagery of today. On the other hand, there’s also something very contemporary about it as well. His quick-draw approach to the world around him presaged today’s smartphone-savvy culture, where everybody has a camera in his or her pocket. Then there’s the fact Winogrand, arguably, left a little bit of himself in every picture — even if only in the way that so many of his subjects stare back at him." - Washington Post


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