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Garry Winogrand (Anglais) Relié – 5 avril 2013

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Book by Greenough Sarah OToole Erin Papageorge Tod Phillip

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Par LD COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 8 février 2015
Format: Relié
La plus grande exposition rétrospective consacrée au photographe Garry Winogrand (1928-1984) s'est tenue à San Francisco et Washington en 2013, et a donné lieu à l'établissement d'un catalogue en anglais : Garry Winogrand. A l'occasion de la reprise de cette exposition au Musée du Jeu de Paume à Paris en 2014-15, le même livre, une fois traduit en français, est publié par Flammarion : Garry Winogrand. Comprenant de nombreux clichés inédits par rapport à ce qui avait été publié au préalable, cet ouvrage fait à présent figure de somme incontournable concernant ce photographe.

Jusqu'au prochain? Sans doute, en particulier lorsque l'on sait que Winogrand, qui n'avait jamais été passionné par la sélection de ses travaux, a laissé derrière lui des quantités de rouleaux de films non développés, tandis que nombre de planches-contacts comprennent des photos par lui entourées, sans qu'il ait jamais pris la peine de les tirer. L'exposition et le catalogue, dont le commissariat a été assuré par Leo Rubinfien, présentent déjà une bonne proportion de clichés sélectionnés et tirés récemment.
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Format: Relié Achat vérifié
On y retrouve un large aperçu de l'oeuvre de Winogrand et le texte (en anglais) résume bien l'artiste. Vu le prix inabordable des ses livres originaux, celui-ci trouvera certainement sa place dans votre bibliothèque si vous aimez la photographie et plus particulièrement "The Street Photography"
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Amazon.com: HASH(0x9bb73d5c) étoiles sur 5 37 commentaires
43 internautes sur 44 ont trouvé ce commentaire utile 
HASH(0x9b7016e4) étoiles sur 5 How much Winogrand is too much Winogrand? 24 avril 2013
Par Dennis Witmer - Publié sur Amazon.com
Format: Relié Achat vérifié
The last major retrospective of Gary Winogrand's work was published in 1988, with John Szarkowski, the aging but still authoritative god of photography as the editor and essayist--and the most notable disclosure in that work was that Winogrand died with a freezer full of exposed film--2,500 rolls--plus thousands more rolls of work never really edited or printed--and that Winogrand, at the end, didn't even care enough to hold the camera steady. The view given by Szarkowski seemed to be that no one in their right mind would ever stagger through Winogrand's every last frame, just to see what was there, and that much of what the man saw would never be seen again.

Twenty five years later, a team of dedicated scholars have proven Szarkowski wrong (much to his posthumous delight, I'm sure)--this very thick and heavy volume is teaming with Winogrands never seen in print before, presented in parings and sequences that delight the eye. I'm old enough to remember (as a child) much of the world that Winogrand photographed (almost old enough for a reprise of the Tom Lehr joke about Mozart--when he was my age, he'd been dead for two years), and am amazed at how he captured not just the surface, but he essence of the eras he lived through.

While some of the other reviewers have complained about how the new images are being printed from digital scans of the negatives, I have no problem with this way of presenting the images, at least in book form--first, all the images in the book are reproduced in duo-tone, and are based on electronic scans--and secondly, I suspect that the complaints are being registered by those who never experienced the "donkey-work" involved in processing silver materials--and worth noting is that Winogrand always processed his own film, but he didn't print even work prints after 1971--I'm grateful for the new digital technology, especially the ability to scan an entire "contact sheet" of a roll of film, and very quickly invert and enlarge the images--I don't think we would have this new look at Wiongrand's work without this change. Secondly, I don't think Winogrand every really gave much of a damn about printing--I own one of his "finished prints", which I'm certain was produced by a custom printer and signed later in a batch--but I'm glad that Winogrand spent his time making new images, and not in the darkroom, cranking out print after print of the same images, trying to meet what his gallery considered what the market would bear... I haven't seen the show hanging on the wall--maybe the new digital images are weaker in that form--but once again, I don't have a problem with work being presented in any form, just so we can see it...

I feel, at the end of scanning this book for the first time, like I've just had one of the best meals ever--one photograph more would be too much. I can't imagine a better book of his work. My advice--buy this book--now.
65 internautes sur 80 ont trouvé ce commentaire utile 
HASH(0x9aff5e7c) étoiles sur 5 A wasted opportunity 22 mars 2013
Par David - Publié sur Amazon.com
Format: Relié Achat vérifié
This is an absolutely amazing book, and a must buy for students of photography, particularly for fans of the school of street photography personified by Henri Cartier-Bresson, Robert Frank, and Lee Friedlander. Not only is the book a definitive catalog of Winogrand's oeuvre, but it's a matchless chronicle of mid-twentieth-century America as seen through the eyes of a true creative genius.

So why am I giving it only three stars? It doesn't even deserve four stars, for one simple reason: poor presentation. I'm not referring to the printing quality, which is pristine. And there's copious written material for those who want to delve further into the work.

Here's the problem: Winogrand worked in landscape format, for the most part, but this book is in portrait. Most of the pages contain a single horizontal image on the top half of the page, and nothing on the bottom half. I kid you not! Almost half of the page space in this book is solid white, which equates to wasted space in my book. And if you're holding it in your lap, it's the part that's nearest your eye.

Publishers: Why, oh why did you not print the book in landscape format? I would've given that five stars, no problem.
11 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x9d7886cc) étoiles sur 5 About the best photography book I own 16 août 2013
Par mike s. moore - Publié sur Amazon.com
Format: Relié Achat vérifié
I've always been curious about Winogrand and was unfortunate to miss the show at SFMOMA, but this book certainly makes up for it, not only in the vast number of images to pour over [which may be the best way to view them anyway] but even more importantly in terms of the writings. Leo Rubinfien's essay is one of the best commentaries on the cultural changes from the fifties to the seventies I know of, and that's not even taking into consideration his excellent account of the life lived through those times by Garry. The other essays hold to the same standard; I can't recommend this highly enough to anyone even remotely interested in those times or this artist.
10 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x9b9e3d98) étoiles sur 5 Capturing people and ideas 7 mai 2013
Par Grady Harp - Publié sur Amazon.com
Format: Relié
Garry Winogrand (1928 - 1984) was a street photographer known for his portrayal of America in the mid-20th century. John Szarkowski called him the central photographer of his generation. This book honors Winogrand as an accompaniment to his major retrospective and in addition to some 400 photographs there are well written notes and essays by Sarah Greenough, Erin O'Toole, Tod Papageorge, Sandra S. Phillips and editor/curator Leo Rubinfien.

From these notes we learn the following: `Widely acknowledged as one of the most important photographers of the 20th century, Garry Winogrand was able to fix moments of everyday American life in the postwar era on film, producing an expansive picture of a nation rich with possibility yet threatening to spin out of control. He did much of his best-known work in New York in the 1960s, becoming a major voice of that tumultuous decade. But he also roamed widely around the United States, from California and Texas to Miami and Chicago. He photographed the rich and powerful and everyday strangers on the street; antiwar protesters and politicians; airports and zoos. In many of these pictures, humor and visual energy are the flip sides of an anxious instability. When he died suddenly at age 56, Winogrand left behind thousands of rolls of exposed but undeveloped film and unedited contact sheets -- some 250,000 frames in total. Nearly 100 of these pictures have been printed for the first time for this long-awaited retrospective of his work. By presenting such archival discoveries alongside celebrated pictures, Garry Winogrand reframes a career that was, like the artist's America, both epic and unresolved.'

The catalogue/book consists of more than 400 images derived largely from Winogrand's later days roaming the streets of Los Angeles with his Leicas. While he may be best known for his New York City scenes, these photos prove that Winogrand's wry eye could unpack the social complexities of Cold War America no matter where he prowled. Looking at these images we recreate our past - both the happy part and the sad part. Few other photographers have been able to say so much with casual glimpse-like shots of Americas living during stressful times. This is much more then a `scrapbook' of street photographs: this is an extended poem to America, now more fully revealed form the photographer's previously unpublished archives. Grady Harp, May 13
5 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x9b9e333c) étoiles sur 5 AN OPPORTUNITY MISSED. 20 janvier 2016
Par Jamusu - Publié sur Amazon.com
Format: Relié Achat vérifié
I desired to add a Garry Winogrand photography book to my library for many years before this one and only retrospective of his life's work was published. Words alone cannot convey the excitement that joyously filled my entire person upon learning of of this books release. I pre-ordered it and anxiously awaited for months for it to arrive at my front doorstep. Upon it's arrival, I eagerly unboxed it with the anticipation of a kid searching through her or his bag of treats on Halloween night. You may as well call me Charlie Brown because after viewing this photography book, I felt like I was given a bag of, "ROCK'S".

Although I found the images immaculately captured as in the case of all of Winogrand's work, I was at a complete loss as to why the publishers chose to print them with a slight sepia tint instead of pure black-and-white. Also, many of the highlights were completely blown out in the images, which I found to be a poor representation of Winogrand's photographic genius.

To make matters worse, the books presentation is poorly designed. It is in portrait format which was a drastic mistake in that Winogrand mainly captured his images in landscape format. Most of the pages contain an out of place horizontal image that covers the top half of the page, leaving nothing on the bottom half of the page but a blank white space that is of no significance. This makes it hard for the eye to accurately follow the images due to their high placement on the top of the page.

Also, I feel as though the individuals who worked on the book violated Winogrand's privacy by posthumously publishing this retrospective of his work without prior permission or input before he died. Had he wanted these images to be seen, he would have developed the film and made the corresponding enlargements himself in the wet-darkroom.

Sadly, it is for these reasons that I cannot recommend you purchase, "Garry Winogrand", by Leo Rubenfien. If you do decide to purchase it, I can only hope that your experience with it is more pleasurable than mine.

Respectfully,
Jamusu.
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