Richard Brody from The New Yorker reviewed the new documentary about legendary street photographer Garry Winogrand, “All Things Are Photographable,” directed by Sasha Waters Freyer, chair of photography and film at VCUarts.
The first time I saw some street photographs by Garry Winogrand, as a teen-ager in the nineteen-seventies, I was overwhelmed. They were the first photos that struck me as relating to the other modes of creation—modern jazz and New Wave movies—that most excited me then. The probing and insightful new biographical documentary “Garry Winogrand: All Things Are Photographable,” directed by Sasha Waters Freyer (opening September 19th at Film Forum), shows how Winogrand’s confrontational, teeming pictures pulled street photography into artistic modernity. The film puts his work convincingly and revealingly into the context of his turbulent life and the passionate politics of the times. Above all, however, the movie puts on display Winogrand’s singular way of working—and proves that, as with many of the artistic luminaries of the nineteen-sixties and seventies, his process is as original a creation as his art, and is inseparable from it.
Read the full article in the The New Yorker.
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