VOGUE Hommes International (English) - - TRENDS -

The Jeu de Paume in Paris is stag­ing the most com­pre­hen­sive ex­hi­bi­tion of Garry Wino­grand’s work in the coun­try for the past 25 years. Con­sid­ered one of the great­est pho­tog­ra­phers of the 20th cen­tury, Wino­grad (&1928–1984&) died bru­tally at the age of 56 in Ti­juana, Mex­ico, leav­ing some 6,500 rolls of un­de­vel­oped film — a to­tal of 250,000 pho­tos. He stud­ied paint­ing be­fore train­ing as a jour­nal­ist at the New School for So­cial Re­search. In 1952, he dis­cov­ered the work of Walker Evans, then that of Robert Frank. They showed him just how pow­er­ful pho­tog­ra­phy was as a di­rect wit­ness, with­out a word of com­men­tary, es­pe­cially when it cap­tures street life as and when it hap­pens. In 1963, his work was shown at the MoMa in New York, then at the George East­man House along­side other street pho­tog­ra­phers such as Lee Fried­lan­der, Duane Michals and Bruce David­son. And yet his pho­tos all seem to cap­ture the in­cred­i­ble hub­bub of every­day life that is so pe­cu­liar to the streets of New York, just as they do the vast Amer­i­can panorama of his trav­els across the US. Ac­cord­ing to Leo Ru­bin­fien, a pho­tog­ra­pher and es­say­ist who was part of his clos­est cir­cle of friends in the 1960s, Wino­grand was con­tin­u­ally fas­ci­nated by “the emer­gence of a form of pros­per­ity and iso­la­tion of the sub­urbs. Half of his work, the sen­si­tive half, re­flects the hope and en­ergy of the Amer­i­can post–war mid­dle classes. The other half gives off a feel­ing of de­cay and de­cline”. JEU DE PAUME (!Paris!), from 14th Oc­to­ber 2014

to 8th Fe­bru­ary 2015.

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