TABLE OF CONTENTS

Vince Aletti

Garry Winogrand, Los Angeles, California, 1969, gelatin silver print, 16 × 20". © The Estate of Garry Winogrand. Fraenkel Gallery, San Francisco.

1 GARRY WINOGRAND (METROPOLITAN MUSEUM OF ART, NEW YORK; CURATED BY LEO RUBINFIEN WITH ERIN O’TOOLE, SARAH GREENOUGH, AND JEFF L. ROSENHEIM) Most black-and-white street photography since the 1960s looks like Winogrand’s work: anxious, hectic, spontaneous as a snapshot, and open-ended yet somehow resolved. So his accomplishment and his influence were givens, but it wasn’t until this show that I realized how much I took the work for granted. Though hardly radical or revisionist, Rubinfien’s selection (including new images from the photographer’s archive) made me look again. Winogrand is still too much—insanely prolific, scattershot, easily distracted—but at a time when photographers seem more interested in academic abstractions than in the world around them, his appetite is inspiring. And daunting.

Co-organized by the San Francisco Museum of Modern Art and the National

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