Fisher Guide Web

From the collection of Randi and Bob Fisher

Pier 24 Photography offers a venue for photog-raphers, educators, collectors and curators to present photography and photographic ideas that are shared with the community. Our aim is to provide an environment to experience, study, observe and quietly contemplate pho-tography. In addition to rotating exhibitions, Pier 24 houses the permanent photographic collection of The Pilara Foundation.

Pier 24 Photography

Hiroshi Sugimoto

Tyrrhenian Sea, Conca, 1994

Edward Weston

Nude on Sand, Oceano, 1936

The exhibition, From the Collection of Randi and Bob Fisher, examines the work of many canonical twentieth century American pho-tographers. Since the early 1980s, Randi and Bob Fisher have collected artists in depth, resulting in surveys of work by photography masters Robert Adams, Diane Arbus, William Eggelston, Walker Evans, Lee Friedlander, and Garry Winogrand among many others. The exhibition catalogs the photographic medium as it moves from early Modernism, featuring works by Man Ray, Charles Sheeler, Alfred Stieglitz, Paul Strand and Edward Weston,

through the large-scale contemporary color photography of American artist Richard Mis-rach and German artists Thomas Struth and Ardreas Gursky. From the Collection of Randi and Bob Fisher follows the exhibition Calder to Warhol: Intro-ducing the Fisher Collection at the San Fran-cisco Museum of Modern Art. That exhibi-tion, which was on view during the summer of 2010, presented selections from the collec-tion of Doris and Donald Fisher, co-founders of Gap, and parents of Bob Fisher.

From the collection of Randi and Bob Fisher

Edward Weston

From Nude on Sand, Oceano, 1936

0103

05

04

11

11

11

06

07

08

12

1314

15

09

10

16

17

05

01 Edward Weston

02 Hiroshi Sugimoto

03 Bernd & Hilla Bernd Becher

04 Andreas Gursky

05 Thomas Struth

06 Diane Arbus

07 William Eggleston

08 Man Ray

09 Harry Callahan

10 Robert Frank

11 Walker Evans

12 Paul StrandAlfred Stieglitz

Edward WestonCharles Sheeler

13 Lee Friedlander

14 Robert Adams

15 Richard Misrach

16 Hiroshi SugimotoAaron Siskind

John GutmannHelen Levitt

17 Garry Winogrand

Entrance

Restrooms

02

0103

05

04

11

11

11

06

07

08

12

1314

15

09

10

16

17

05

01 Edward Weston

02 Hiroshi Sugimoto


04 Andreas Gursky

05 Thomas Struth

06 Diane Arbus


08 Man Ray

09 Harry Callahan

10 Robert Frank

11 Walker Evans



13 Lee Friedlander

14 Robert Adams

15 Richard Misrach



17 Garry Winogrand

Entrance

Restrooms

02

Gallery Guide

Thomas Struth

Musée du Louvre, 1989

Bernd and Hilla Becher

Framework House, 1983

Water Towers, 2009

Winding Towers (South Wales), 1966-1997

Gas Tanks (Deckel), 1971-1997

Coal Tipples, 1974-1978

Blast Furnaces (HO), 1968-1993

Winding Towers, 1983

Blast Furnace Plant, Bethlehem, Pennsylvania, USA, 1986

Wasserturme, 1972

Bertreville/Dieppe, France, 2006

Oeuilly/Reims, France, 2006

Ally-Sur-Somme.Amiens, France, 2000

Bernd and Hilla Becher

Framework House, 1983 | Water Towers, 2009

Andreas Gursky

Shanghai, 2009

Untitled VI, 1997

Chicago Mercantile Exchange, 1997

Pyongyang I, 2007

Andreas Gursky

99 Cents, 1999

Thomas Struth

Musée d’Orsay, Paris, 1989 | Paradise 4, Pilgrim Sands, Daintree, Australia, 1998

Todai-Ji, Daibutsu-den Nara, 1996 | Paradise 1, Pilgrim Sands, Daintree, Australia, 1998

Diane Arbus

A House on a Hill, Hollywood, California, 1963

Child with Toy Hand Grenade in Central Park, 1962

A Family One Evening in a Nudist Camp, 1965

Boy at a Pool Hall, N.Y.C., 1959

Triplets in Their Bedroom, N.J., 1963

Portrait of Diane Arbus by Allan Arbus, c. 1949

A Flower Girl at a Wedding, Connecticut, 1964

Jewish Giant at Home with His Parents in the Bronx, N.Y., 1970

A Young Negro Boy, Washington Square Park, N.Y.C., 1965

Albino Sword Swallower at a Carnival, Maryland, 1970

Fire Eater at a Carnival, Palisades Park, N.J., 1956

Identical Twins, Roselle, N.J., 1967

Child Selling Plastic Orchids at Night, N.Y.C., 1963

Untitled #7, 1970-71

Christ in a Lobby, N.Y.C., 1964

Kid in Black-face With Friend, N.Y.C., 1957

Russian Midget Friends in a Living Room on 100th Street, N.Y.C., 1963

Female Impersonator Putting on Lipstick, N.Y.C., 1959

Portrait of Diane Arbus by Allan Arbus, c. 1949

William Eggleston

From William Eggleston’s Guide, 1970-1974

Untitled Rayograph [Ferns], 1922 | Cadeau, 1921 | Glass Tears, 1933 | Untitled Rayograph [Banjo], 1923

Primat de la Matière Sur la Pensée, 1929 | Marcel Duchamp, 1925-1928 | Untitled Rayograph [Gladiolus], 1922

Man Ray

Self Portrait in the Studio, New York, 1925

Robert Frank

Coney Island, 4th of July 1958, 1958 | From The Americans, 1955-1957 | Slideshow Photo Display, 1958

Harry Callahan

Chicago, 1955 | Women Lost in Thought, 1950 | Eleanor, 1947-1954

Walker Evans

Negro Barbershop Interior, Atlanta, 1936

Robert Frank

Barbershop Through A Screen Door,

McClellanville, South Carolina, 1955

Walker Evans

Shadow Self-portrait, Juan-les-Pins, France, 1927

Self-Portrait, 5 Rue de la Santé, Paris, 1926

Self-portrait, 5 Rue de la Santé, Paris, 1926

Brooklyn Bridge, 1929

Pine Street, New York, 1928-1929

Wall Street Windows, 1928-1930

Elevated Train Stairway, Wall Street, New York City, 1928-1930

Excavation for Lincoln Building, East 42nd Street and Park Avenue, 1929

S.S. President Roosevelt, New York City, 1929-1930

Traffic, New York City, 1928-1930

Cobblestone Street, Brooklyn, 1928-1929

Factory Street in Amsterdam, New York, 1930

Main Street, Saratoga Springs, New York, 1931

Outdoor Advertising, Florida, 1934

Truck and Sign, 1930

Couple at Coney Island, New York, 1928

A Bench in the Bronx on Sunday, 1933

New York Milk Counter, 1936

Parked Car, Small Town Main Street, 1932

42nd Street, 1929

Posed Portraits, New York, 1931

Cinema, Havana, 1933

Produce Trucks at Market, Havana, 1933

Pushcart, Havana, 1933

Balcony Spectators, Havana, 1933

Starving Cuban Family, 1933

Citizen in Downtown Havana, 1933

Walker Evans

Penny Picture Display, Savannah, 1936

Sign, Baton Rouge, Louisiana, 1935

Street Scene, New Orleans, 1935

Grocery Store, Selma, Alabama, 1936

Butcher Sign, Mississippi, 1935-1936

Houses and Billboards in Atlanta, 1936

Main Street of County Seat, Alabama, 1936

Street Scene, Vicksburg, Mississippi, 1936

Mississippi Town Negro Quarter, 1936



Men and Coca Cola Advertisements, Near New Orleans, 1935

Alabama Tenant Farmer, 1936

Alabama Tenant Farmer’s Wife, 1936

Alabama Tenant Farm, Kitchen Wall, 1936

Bedroom, Burroughs Family Cabin, Hale County, Alabama, 1936

Kitchen, Burroughs Family Cabin, Hale County, Alabama, 1936

Alabama Tenant Farmer, 1936

Main Street Block, Selma, Alabama, 1936

County Store and Gas Station, Selma, Alabama, 1936

Crossroads Store, Sprott, Alabama, 1936

Storefront, Vicksburg, Mississippi, 1936

Office Buildings, Near Tuscaloosa, Alabama, 1936

Walker Evans

All images from Let Us Now Praise Famous Men

Walker Evans

Church Organ and Pews, 1936

Room in Louisiana Plantation House, 1935

Corner of Felicity and Orange Streets, New Orleans, 1936

View of Easton, Pennsylvania, 1935

Part of Philipsburg, New Jersey, 1935

Mississippi River Steamboat at Vicksburg, Mississippi, 1936

From Many Are Called, Subway Passenger, New York, 1938-1941

Corner of State and Randolph Streets, Chicago, 1946




South Side House with Grocery, Chicago, 1946

South 3rd Street, Paducah, Kentucky, 1947

Crate Opener, 1955

Warning Sign Detail, 1973-1974

Fire Hydrant, 1973-1974

House Window, 1973-1974

Traffic Arrow, 1973-1974

Boarded-Up House, Stonington, Connecticut, 1974

Theater Detail, Near Old Saybrook, Connecticut, 1973-1974

Sign Detail, Martha’s Vineyard, Massachusetts, 1974

Sign Detail, 1973-1974

Railroad Warning Sign Detail, 1974

Traffic Arrow, 1974

Sign Detail, St. Martin, French West Indies, 1974

Warning Sign, 1973-1974

Sign Detail, Martha’s Vineyard, Massachusetts, 1974

Park Street, New Haven, 1974

Portrait of Walker Evans by David Kent,1974

Charles Sheeler

Doylestown House – The Stove, Horizontal, c. 1917

Side of White Barn, Bucks County, c. 1918

Ford Works (Crisscrossed Conveyors), 1927

Stairway, Williamsburg, 1935

Alfred Stieglitz

Georgia O’Keeffe, 1919

From the Back Window, 291-N.Y., Winter, 1915


Equivalent, 1933

291, Braque-Picasso Exhibition, 1915


Paul Strand

Wheel Organization, 1917

Geometric Backyards, 1917

People, Streets of New York, 83rd and West End Avenue, 1916

Bowls and Apples, Twin Lakes, Connecticut, 1916

Edward Weston

Form Follows Function, 1930

Clouds, Santa Monica, 1936

Chard, 1927

Dunes, Oceano, 1936

Nautilus Shell, 1927

Lee Friedlander

Self-Portraits, 1965-1966

Self-Portraits, 1994-1997

Maria, Southwestern, United States, 1969

Route 9W, New York, 1969

Hillcrest, New York, 1970

Princeton, 1969

Wisconsin, 1974

Haverstraw, 1966

From America by Car, 1999-2002

Sticks and Stones, 2000-2003

Street Scenes, 1963-1976

Lake Louise, 2000

Aspen, 2004

Tetons, 1999

Tetons, 1995

California, 1996

N.Y.C., 2006

Lee Friedlander

N.Y.C., 2006

Andreas Gursky

Salerno, 1990

Richard Misrach

Untitled (Cardon Cactus), 1976 | Untitled 943-03, 2003 | Untitled (Boojum Tree #3), 1976

Richard Misrach

Untitled 19-2003, 2003

Robert Adams

Fort Collins, Colorado, 1976

Newly Completed Tract House, Colorado Springs, Colorado, 1968

New Housing, Colorado Springs, Colorado, 1971

Denver, Colorado, 1973

Wood-Paneled Wall with Window, 1973-1974

Golden, Colorado, c. 1970

North Denver, Colorado, 1973

Outdoor Theater and Cheyenne Mountain, Colorado Springs, Colorado, 1968

Colorado Springs, Colorado, 1968

Colorado Springs, Colorado, 1979

Untitled View of Suburban Home, Streetlight at Night, c. 1981

The South Platte River, Looking Toward Denver, Colorado, 1979

Above Boulder, Colorado, 1981

Longmont, Colorado, c. 1980

Longmont, Colorado, 1982

South of Rocky Flats, Jefferson County, Colorado, 1978

Looking Past Citrus Groves into the San Bernardino Valley, Northeast of Riverside, 1983

Missouri River, Clay County, South Dakota, 1977

Sally, Weld County, Colorado, 1984

South on Clatsop Spit, Late Afternoon (Diptych), 1992

Southwest From the South Jetty, Clatsop County, Oregon (Series of 5), 1991

On Signal Hill, Overlooking Long Beach, California, 1983

Clatsop County, Oregon, 1999-2003

South of Burns, Oregon, 1999

Alders, Pacific County, Washington (Series of 6), 2005

Pine Valley, Oregon, 2003

Aaron Siskind

From Pleasures and Terrors of

Levitation, 1956-1962

Hiroshi Sugimoto

Colors of Shadow C1025, 2006

John Gutmann

Walking on Air, 1938

Helen Levitt

New York, c. 1940-1942

Garry Winogrand

From Arrivals and Departures, 1964-1977 | From Stock Photographs, 1975 From Openings, 1969-1971 | Street Scenes, 1950-1970

Garry Winogrand

Street Scenes, 1950-1970

Born in Highland Park, Illinois, Edward Weston (1886 – 1958) moved to California at the age of 21 to pursue a career in photography. Later, as a major advocate of straight photog-raphy, he became a champion of hyper-real articulation in im-age making. Alongside Willard Van Dyke and Ansel Adams, Weston was a founding member of the influential group of the San Francisco-based photographers, f/64.

Each vintage gelatin silver print in Nude On Sand was pro-duced from negatives made on a single day in 1936 at Oceano Sand Dunes in California.

EdwardWeston

0103

05

04

11

11

11

06

07

08

12

1314

15

09

10

16

17

05

01 Edward Weston

02 Hiroshi Sugimoto


04 Andreas Gursky

05 Thomas Struth

06 Diane Arbus


08 Man Ray

09 Harry Callahan

10 Robert Frank

11 Walker Evans



13 Lee Friedlander

14 Robert Adams

15 Richard Misrach



17 Garry Winogrand

Entrance

Restrooms

02

01

0103

05

04

11

11

11

06

07

08

12

1314

15

09

10

16

17

05

01 Edward Weston

02 Hiroshi Sugimoto


04 Andreas Gursky

05 Thomas Struth

06 Diane Arbus


08 Man Ray

09 Harry Callahan

10 Robert Frank

11 Walker Evans



13 Lee Friedlander

14 Robert Adams

15 Richard Misrach



17 Garry Winogrand

Entrance

Restrooms

02

Hiroshi Sugimoto, born in 1948 in Japan, currently lives and works in New York and Tokyo. The artist’s career spans over three decades and has often focused on conceptual issues relating to time and memory. Sugimoto is known for innova-tion in his work, using the camera in various ways to achieve a myriad of images.

The content of Sugimoto’s images are as varied as his pho-tographic approach. His repertoire includes Dioramas, The-aters, Seascapes, and Portraits from Madame Tussauds’ wax figures, as well as Architecture, Colors of Shadows and Conceptual Forms.

HiroshiSugimoto02

Bernd Becher (1931-2007) and Hilla Becher (1934-) first col-laborated on photographing the disappearance of German industrial architecture in 1959. Through their collaborative lifetime, they developed the direct, non-emotive ‘dead pan’ photographic aesthetic.

The Bechers photographed these structures from a single perspective and always with a straightforward, objective point of view. The images are presented side by side, inviting view-ers to compare form and function.

As teachers at the Düsseldorf Art Academy, the Bechers’ ap-proach was extremely influential on the subsequent genera-tion of German photographers, which include Andreas Gur-sky, Thomas Ruff, and Thomas Struth.

Bernd and Hilla Becher03

Born in 1955 in Düsseldorf, Germany Andreas Gursky trained at the Folkwangschule in Essen, considered West Germany’s premier training center for professional photographers. While at the Düsseldorf Academy in the 1980s, Gursky studied un-der Bernd and Hilla Becher.

Gursky was one of the first pioneers of large-format color photography and digital manipulation. Carefully altering his images digitally, the artist creates spaces that appear much larger than the actual documented subject.

AndreasGursky04

Born in Geldern, Germany, Thomas Struth was a student of the Düsseldorf Academy from 1973 to 1980, where he trained under Bernd Becher. He studied alongside photographers Andreas Gursky, Thomas Ruff and Candida Hofer, who to-gether comprise a group commonly known as the Düsseldorf School of Photography. The Bechers’ formal approach, us-ing strict visual procedures, had a formative influence on the young photographer’s methodology, which is evident in his current practice.

ThomasStruth05

Diane Arbus (1923-1971) began her career in the 1950s as a commercial fashion photographer, working with her hus-band Allan Arbus. In 1956, she began working independently. Arbus gained recognition as a fine art photographer in the 1960s, often documenting individuals marginalized by soci-ety. Her early success was marked by two major achieve-ments: Esquire published one of her photographs in 1960 and in 1967, John Szarkowski included her work in the highly influential New Documents exhibition at MoMA.

Arbus died in 1971. The following year, her retrospective at MoMA would become the most widely attended solo exhibi-tion of an artist in the museum’s history.

DianeArbus06

William Eggleston was born in 1939 in Memphis, Tennessee. He developed an interest in photography in the early 1960s, learning about the medium through books by Robert Frank, Henri Cartier-Bresson and Walker Evans rather than in a tra-ditional classroom setting. Eggleston began by making black-and-white prints, though he quickly transitioned to experi-mentation in color technology. This established him as one of the few non-commercial photographers working in color. In 1976, the MoMA mounted Color Photographs, a now cel-ebrated exhibition of works portraying quotidian aspects of everyday life.

William Eggleston07

Man Ray (1890-1976) was an American artist who played a pivotal role in launching the Dada and Surrealism move-ments. He worked in several media including sculpture, film and painting.

All of the photographs in this room were made in Paris, and illustrate his diverse approach to photography. In 1922, he began creating “rayographs,” his variation on the photogram. In the late 1920s, he began experimenting with the Sabattier process, a technique where a partially developed print is re-exposed to light during processing. Glass Tears (1933), one of his most recognized photographs, exemplifies Man Ray’s early experimentation with staged photography. Interestingly, two of the photographs included in this space can be seen in Self Portrait in the Studio (1925).

ManRay08

Detroit-born Harry Callahan (1912-1999), a self-taught pho-tographer, credits a talk given by Ansel Adams in 1941 as pivotal in his decision to become a serious photographer. His works tend to explore everyday subjects such as nature, ar-chitecture, city streets and his family. In addition to working as a photographer, he taught at institutions throughout the United States. His wife Eleanor Knapp was a frequent subject of his work; Callahan represented her diversely, mirroring his own experimentation with the medium of photography.

HarryCallahan09

Born in Zurich in 1924, Robert Frank works in both photog-raphy and film. He immigrated to New York in 1947, where he worked as an editorial photographer for Harper’s Bazaar. After receiving his first Guggenheim Fellowship in 1955, he traveled around the United States for two years, document-ing the American social landscape. Both Frank’s choice of subject matter and aesthetic were considered controversial in the mid-1950s. The resulting monograph, The Americans, included eighty-three images from this series in its initial pub-lication in 1958. This series was recently exhibited throughout the United States in celebration of the fiftieth anniversary of the book’s publication.

RobertFrank10

Alfred Stieglitz (1864-1946) was an influential editor, publisher, patron and dealer in the field of modern photography. His per-sonal artworks, published Camera Work journal and seminal 291 Gallery in New York City all helped to advance the early stages of photography.

Stieglitz’s gallery showcased early twentieth-century avant-garde artists, particularly from Europe, and promoted picto-rial photography, an approach indebted to the principles of fine art. He also represented Georgia O’Keeffe, an emerg-ing American painter at the time, who he married in 1924. O’Keeffe became a key inspiration and a recurrent subject in how work. Stieglitz produced hundreds of photographs of his wife over a twenty-year period including the three exhibited here.

Alfred Stieglitz12

Lee Friedlander was born in 1934 in Aberdeen, Washing-ton. He studied photography in Los Angeles in the early to mid-1950s. Soon after, he moved to New York in where he supported himself working for record labels such as Atlan-tic, shooting the album covers of various jazz musicians. No single subject or genre defines Friedlander’s practice. The dis-play in this space juxtaposes works examining similar subject matters – such as self-portraits, the automobile and the urban landscape – from both his early career, when he worked with a 35mm camera, and later when he began to favor the use of medium format cameras. In 2005, the MoMA presented a major retrospective of Friedlander’s career, including nearly 400 photographs from the 1950s to the present, which trav-eled to the San Francisco Museum of Modern Art in 2008.

LeeFriedlander13

While on a trip to Europe in the late 1920s, American pho-tographer Walker Evans (1903-1975) began to pursue pho-tography through spontaneous snapshots. In 1935, the Farm Security Administration employed him to photograph workers and buildings in the Southeast. He is best known for docu-mentary-style images from the Great Depression. In 1936, Ev-ans worked with writer James Agee on an article for Fortune magazine about several tenant farm families. The book Let Us Now Praise Famous Men resulted from this collaboration. He worked as a staff photographer and photo editor for Fortune until 1965, when he left the magazine to become a profes-sor of photography and graphic design at Yale University. He continued teaching until a year before his death.

WalkerEvans11

In the 1910s and 1920s, Paul Strand (1890-1976), Alfred Stieglitz and Edward Weston helped define photography in the context of early American modernism. He also worked in film, collaborating with Charles Sheeler on the short film Man-hatta in 1920. Strand embraced photography for its inherent strengths and revolutionized the acceptance of straight pho-tography. The final edition of Stieglitz’s Camera Work maga-zine in 1917 focused exclusively on Strand’s work, signaling a new age in modern photography.

PaulStrand12

Richard Misrach was born in Los Angeles in 1949, and cur-rently lives and works in the Bay Area. During the 1970s he contributed to the emergence of color and large-scale display within contemporary fine art photography. For the majority of his career, Misrach has addressed the interaction of contem-porary society and nature, within a particular interest in the American West. Often times, this work subtly challenges the impact of modern society and nature.

RichardMisrach15

Perhaps best known as a painter and founding member of American modernism, Charles Sheeler (1883 – 1965) was also a celebrated photographer. Though he studied in Paris at the height of European modernism, he believed he could not survive making these kinds of paintings in the United States. As a result, Sheeler turned to commercial photography upon his return to the U.S. around 1912, initially photographing buildings for Philadelphia architects. He would continue to focus on architectural subjects in both his paintings and pho-tography, employing a highly focused and detailed aesthetic he labeled Precisionism.

CharlesSheeler12

Robert Adams was born in 1937 and is most notably asso-ciated with New Topographics, a photographic movement centered on capturing man-altered landscapes. Adams was included in an exhibition of the same name, along with Bernd and Hilla Becher, which was recently reproduced in a traveling exhibition and catalog.

Adams’ work is centered on issues of landscape including the documentation of human influence on the American West and the moments of transition within this region. His work is inspired both by his admiration for the intrinsic beauty of nature and his frustration with its degradation.

RobertAdams14

Aaron Siskind (1903-1991) is primarily known for connecting photography to ideas of Abstract Expressionism. His abstract and metaphoric work from the early 1940s reflects his close interaction with prominent Abstract Expressionist painters in-cluding Franz Klein, Barnett Newman and Mark Rothko. He played a significant role in shaping the education of emerg-ing photographers, working at Black Mountain College, the Institute of Design in Chicago and the Rhode Island School of Design, often at the invitation of or in collaboration with Harry Callahan.

The works shown here are from the series The Pleasures and Terrors of Levitation, a body of work completed from the mid-1950s to early 1960s of divers arrested in mid-leap. Siskind made these photographs with a hand-held twin-lens reflex camera along the perimeter of Lake Michigan in Chicago. The juxtaposition of balance and instability in these images is high-lighted by the series’ evocative title.

AaronSiskind16

©2010 Pier 24 Photography Publications

All rights reserved. No part of this publication may be repro-duced or transmitted in any form or by any means, electronic or mechanical, including photography, recording, or any infor-mation storage and retrieval system, without written permission from the publisher.

Catalog design Nate Phelps

Installation photography Tom O’Connor

German-born, American artist John Gutmann (1905-1998) initially trained as a painter under the tutelage of the German expressionist Otto Mueller. He began to pursue photography in 1933, shortly before fleeing Germany and settling in the San Francisco Bay Area. Gutmann largely photographed American popular culture, creating images that reflected his experience of his new home. He spent the final years of his life teaching modern art and art history at San Francisco State University.

John Gutmann16

Helen Levitt (1913 –2009) was born in Brooklyn, New York. In 1931, she began working for a commercial photographer in the Bronx. She is best known for her images of children, which she captured meandering through the streets of Span-ish Harlem. Her emblematic image of trick-or-treaters ex-hibited here was included in the inaugural exhibition of the MoMA’s photography department in 1940.

HelenLevitt16

Garry Winogrand (1928 – 1984) was primarily a street pho-tographer known for his documentation of America in the mid twentieth century. Born in New York, he studied photogra-phy at Columbia University and photojournalism at the New School for Social Research with Alexey Brodovitch. Wino-grand photographed constantly, approaching subject matter such as city streets, people, rodeos, airports and animals in zoos in innovative ways. At the time of his death, Winogrand left behind nearly 300,000 unedited images and more than 2,500 undeveloped rolls of film.

In 1967, John Szarkowski curated the exhibition New Docu-ments, which helped launch the careers of Winogrand, Diane Arbus and Lee Friedlander. That single exhibition signaled a change in documentary photography, which until that time was primarily used as a tool for social change.

GarryWinogrand17

Pier 24 The EmbarcadareoSan Francisco, CA 94105p. 415.512.7424f. 415.512.7456e. [email protected]

Fisher Guide Web

Documents

Transcript of Fisher Guide Web