garry winogrand

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 Seung Hee Kim Prof . Lynda Klich MHC Arts in NYC October th  !"#$ Mysterious Untitled Photograph by Garry Winogrand  %he unsettling& non'traditional use of (i sual elements in the untitl ed )hotogra)h by *arry +inogrand thro,s o- the (ie,er (isually and cogniti(ely . %he con(entional (isual elements such as bacground& balance& and (alue did not hinder *arry +inogrand/s e0)erimentation ,ith )hotogra)hy . +inogrand broe out of the established boundary to create an unantici)ated image. 1(en the genre of the )hotogra)h is a mystery. %he image does not seem lie it is s)eci2c to a certain e(ent or location& hence it is not 3uite a documentary )hotogra)hy. 4t could be called )ortraiture since there are t,o children ca)tur ed in the )hotogra)h& but the children are 2ghting many other strong (isual elements for attention and they lac detail. %he style& too& is ambiguous at 2rst sight. %he image is realistic& but it forces the (ie,er to second'guess ,hat the style is because of ,hat they see and inter)re t. %he bacground is 5ust blac& not gi(ing many (isual elements or details for the (ie,er to gras). %he eyes e0)ect to see some clues in the scene about location and atmos)here& but +inogrand does not o-er those clues in the bacground. %he (ie,er cannot e(en get a sense of the s)atial de)th. 6y neglecting a detailed bacground& +inogrand (isually limits the image/s

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Seung Hee KimProf. Lynda KlichMHC Arts in NYCOctober 8th 2014Mysterious Untitled Photograph by Garry WinograndThe unsettling, non-traditional use of visual elements in the untitled photograph by Garry Winogrand throws off the viewer visually and cognitively. The conventional visual elements such as background, balance, and value did not hinder Garry Winogrands experimentation with photography. Winogrand broke out of the established boundary to create an unanticipated image. Even the genre of the photograph is a mystery. The image does not seem like it is specific to a certain event or location, hence it is not quite a documentary photography. It could be called portraiture since there are two children captured in the photograph, but the children are fighting many other strong visual elements for attention and they lack detail. The style, too, is ambiguous at first sight. The image is realistic, but it forces the viewer to second-guess what the style is because of what they see and interpret. The background is just black, not giving many visual elements or details for the viewer to grasp. The eyes expect to see some clues in the scene about location and atmosphere, but Winogrand does not offer those clues in the background. The viewer cannot even get a sense of the spatial depth. By neglecting a detailed background, Winogrand visually limits the images connection to reality and conveys otherworldliness. The stark darkness of the background plays a role in the composition of the photograph as well. There are not many shades of gray, which one might expect to see in black and white photograph, found on the car. The lack of gray disrupts the natural flow from the lighter shades to the darker shades and vice versa. The harsh contrast of the light divides the image into two large shapes: the black negative space and the white car. The negative space, because it is prominently black, acts as the shadow in and of it self. The white car, standing so brightly against the darkness, acts as the highlight of the entire image. Rather than being naturally integrated into the whole scene, the car seems completely out of place because the foreground, middle ground, and background cannot be identified. The harsh contrast of the values gives the photo a collage-like characteristic, as the car appears to be a cutout pasted on to a black page. Although amongst the bold shades, the two children in the car do not fail to grab the attention of the viewer. They are what make this photograph so cognitively unnerving. They are not seated in a car that may or may not be moving; the driver is not present and there is not enough visual information to be able to tell if the children are in danger. The cropping of the image adds to the uneasy nature of the photo. A section of the front of the car and the bottom of the wheel is cropped out. By cropping these sections out, Winogrand makes it difficult for the viewer to figure out the direction and the placement of the car. He is playing with the human desire to know and be cognizant of what is being seen. He deprives the viewer of anticipated visual details, guiding the viewer to focus on what he wants the viewer to see: the children. As the photographer, he is in control of the interaction between the photograph and the viewer.The unsupervised children in the car attracted me to this image. I do not have a spectacular eyesight, so when I noticed the photo from a distance, I did not see the children. When I was close enough to see the children, I appreciated the subtlety of the childrens presence. I realized that my eyes kept on going back to the human figures. I suppose this was because human figures are more relatable to the human eyes. Although I do not have any personal connections to the children, I was genuinely concerned for them for a few minutes. When I was little, my parents never left me unsupervised in a car. They feared that I might get kidnapped. My personal experience influenced how I viewed the photograph. I could not help but think that the children were in danger despite not having enough evidence from the photo. The photograph, while not necessarily a pleasant one, successfully did the one thing I expect from art; it interested me. I did not stop and gaze at every single photograph displayed in the Garry Winogrand retrospective. I only stopped in front of photographs that drew me in for whatever reason. I should not have to struggle to connect with art. It should just happen. There are countless ways that art can interest the viewer. It can be purely visually compelling, it can tell a relatable story, and it can be provocative. I firmly believe that art does not have to be pleasing to be interesting. Many of the Winogrand photographs were actually quite visually pleasing, but I steered away from choosing those photos to explore image that were interesting, without being pleasing. In his large body of work, it is evident that he was not limit himself by attempting to take photographs that would please the crowd. Art is too often associated with aesthetic pleasure; aesthetics can be an important aspect of art, but artists go further in their creative processes to convey meaning and evoke feelings or memories. Spectators have the responsibility to go beyond just viewing and appreciating pretty paintings. Art is not much different from language and text. It has to be written and be read. Winogrand utilized and also deliberately neglected various visual elements to startle the viewer, to push the viewer to do more then simply look at and treat photographs as ordinary snapshots of unbiased realities.Untitled, Garry Winogrand, 1955, photography, 9 x 13 1/4"