The with man the camera that shot 1% of the United States.

Garry Winogrand died of untreatable cancer soon after his 56th birthday in 1984, with little warning or time to prepare. No prints existed of many of the best photographs he made in his first decades and, as Leo Rubinfien explains in an essay in (Yale University

Garry Winogrand

Press, $92), he also left behind more than 6,500 rolls of unprocessed film. Many of these im-

ages are now gathered in both the hefty monograph and a major travelling retrospective, on

now at the Met. “Perhaps two million people passed through Winogrand’s photographs, esti- mating roughly — 1% or more of everyone in America during his productive years,” Rubinfien says of the prolific street photographer’s 1960s heyday. The Bronx-born Winogrand roamed from midtown Manhattan to Coney Island and, later, Texas and suburban Los Angeles. Everywhere, he captured impromptu portraits and energetic scenes of the frenetic, rowdy reality of life, blurring the line between photojournalism and fine art. “His work combines the hope and exhilaration that flourished in the post-World War II era with a powerful sense of anxiety,” Rubinfien, guest co-curator of the exhibition writes, “illuminating a country that seems both at the height of its powers and on the verge of spinning out of control.”

Garry Winogrand, on view at the Metropolitan Museum of Art in New York through Sept. 21, 2014