Garry Winogrand, New York, 1968, gelatin silver print, San Francisco Museum of Modern Art, courtesy Fraenkel Gallery, San Francisco
Walking through the many rooms in the National Gallery of Art’s exhibit “Garry Winogrand” (through June 8), I was surprised to see several groups of transfixed boys. Winogrand, after all, was born in 1928 and died more than 20 years ago; he had an ingenious eye for interpreting urban street scenes and the pedestrians that passed through them, but his work has nothing to do with Instagram or iPhones. Why, I wondered, were these young boys so interested in black-and-white photographs from the 1970s?
When I crossed over the room toward the boys, I realized they were gawking at some of the photographs from Winogrand’s 1975 series of 85 works: “Women Are Beautiful.” The images showed women in various stages of undress. “Whenever I’ve seen an attractive woman, I’ve done my best to photograph her,” Winogrand wrote of the series. “I don’t know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs.”
Winogrand’s program of photographing beautiful women has been controversial. The photographer, born to Jewish parents who left Budapest and Warsaw for the Bronx, is “routinely criticized for exploiting the subjects of his work,” according to the website of the Worcester Art Museum, which showed works from the series in 2013. The photographs of the young women in the series are “typically composed to emphasize their breasts and backsides,” the site adds.
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