Edward Burtynsky

Water is never only water. Absorbed, even vanishing into what collapses without it—forest, field, ecosystem—water can seem subordinate. The scope, scale, and deceptive, disturbing beauty of our fate are both visible and to be sought in the very large color photographs by Edward Burtynsky that were shown at Howard Greenberg Gallery and Bryce Wolkowitz Gallery this past fall. Each offered a selection from “WATER,” a sweeping, five-year, ten-country project designed partly to show the impact of “human systems” on this natural resource, the various efforts to “harness it, shape it and

print Summer 2013

Garry Winogrand

OF THE NEARLY three hundred photographs in this bold retrospective of Garry Winogrand’s work at the San Francisco Museum of Modern Art, many ask of us a kind of intense level of attention—the same kind of attention with which Winogrand’s camera itself seems to embrace and threaten its subjects. Winogrand said he wanted to see in the picture what the camera did to his subject and what it could do with light: For example, a 1969 shot shows Hollywood sunlight narrowing into a sharp apex, through which three proud beauties are about to pass; in the shadows beyond, a man, whom they just seem to