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GARRY WINOGRAND14 October 2014 – 08 February 2015

❙ curatorsLeo Rubinfien, Erin O’Toole and Sarah Greenough

The exhibition has been conceived and guest-curated by photographer and author Leo Rubinfien with Erin O’Toole,

associate curator of photography at SFMOMA, and Sarah Greenough, senior curator of photographs

at the National Gallery of Art.

❙ partners”Garry Winogrand” is organized by the San Francisco Museum of Modern Art and the National Gallery of Art,

Washington. The international tour of this exhibition is sponsored by the Terra Foundation for American Art.

Leadership support is provided by Randi and Bob Fisher.

NEUFLIZE VIE, principal partner of the Jeu de Paume, and Manufacture Jaeger-LeCoultre, special partner,

have both chosen to support the “Garry Winogrand” exhibition.

In partnership with the RATP.

This event is part of the Mois de la Photo 2014.

The Jeu de Paume receives a subsidy from the Ministry of Culture and Communication.

It gratefully acknowledges support from NEUFLIZE VIE, its global partner.

❙ media partnersA Nous Paris, De l’air, Obsession, Marie Claire, Stylist, LCI, Trois Couleurs, Time Out Paris and FIP

Akwnoledgement to the Hôtel Castille of Paris.

GARRY WINOGRAND14 October 2014 – 08 February 2015

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Garry WinograndLos Angeles, 1964Gelatin silver printSan Francisco Museum of Modern Art, gift of Jeffrey Fraenkel© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco Photo: Don Ross

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THE EXHIBITION

The Jeu de Paume presents the first retrospective in twenty-five years of the great American

photographer, Garry Winogrand (1928–1984), who chronicled America in the post-war years.

Winogrand is still relatively unknown because he left his work unfinished at the time of his death, but

he is unquestionably one of the masters of American street photography, on a par with Walker Evans,

Robert Frank, Lee Friedlander andWilliam Klein.

Winogrand, who photographed “to see what the world looks like in photographs,” is famous for his

photographs of New York and American life from the 1950s through the early 1980s. Organized jointly by

the San Francisco Museum of Modern Art (SFMOMA) and the National Gallery of Art, Washington, D.C., the

exhibition “Garry Winogrand” brings together the artist’s most iconic images with newly printed photographs

from his until now largely unexamined archive of late work, offering a rigorous overview of the photographer’s

complete working life and revealing for the first time the full sweep of his career.

The photographs in the exhibition and the accompanying catalogue will create a vivid portrait of the artist, a

chronicler of postwar America on a par with such figures as Norman Mailer and Robert Rauschenberg, who

unflinchingly captured America’s wrenching swings between optimism and upheaval in the decades following

World War II.

While Winogrand is widely considered to be one of the greatest photographers of the 20th century,

his overall body of work and influence on the field remains incompletely explored. He was enormously prolific,

but largely postponed the editing and printing of his work. Dying suddenly at the age of fifty-six, he left behind

approximately 6,500 rolls of film (some 250,000 images) that he had never seen, as well as proof sheets from

his earlier years that he had marked but never printed. Roughly half of the photographs in the exhibition have

never been exhibited or published until now; over 100 have never before been printed.

“There exists in photography no other body of work of comparable size or quality that is so editorially

unresolved,” says Rubinfien, who was among the youngest of Winogrand’s circle of friends in the 1970s.

“This exhibition represents the first effort to comprehensively examine Winogrand’s unfinished work. It also aims

to turn the presentation of his work away from topical editing and toward a freer organization that is faithful

to his art’s essential spirit, thus enabling a new understanding of his oeuvre, even for those who think

they know him.”

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Garry Winogrand New York World’s Fair, 1964 Gelatin silver print San Francisco Museum of Modern Art, gift of Dr. L. F. Peede, Jr© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco Photo: Don Ross

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The exhibition is divided into three parts, each covering a broad variety of subjects found in Winogrand’s art.

❙ “Down from the Bronx” presents photographs taken for the most part in New York from his start in 1950 until

1971;

❙ “A Student of America” looks at work made in the same period during journeys outside New York;

❙ and “Boom and Bust” addresses Winogrand’s late period—from when he moved away from New York in 1971

until his death in 1984—with photographs from Texas and Southern California, as well as Chicago, Washington,

Miami, and other locations. This third section also includes a small number of photographs Winogrand made

on trips back to Manhattan, which express a sense of desolation unprecedented in his earlier work.

Winogrand was known as great talker with a flamboyant, forceful personality, and what he said

accompanying his slide shows and lectures was often imaginative and very funny. Excerpts from a video made

in 1977 will allow visitors to experience the living Winogrand.

To accompany the ‘Garry Winogrand’ retrospective, the RATP1 (one of the Jeu de Paume’s partners) is organising “La RATP INVITE GARRY WINOGRAND”, an exhibition that will run from October 14th 2014 to February 8th 2015.

In 16 stations throughout its transport network, the RATP will propose a real complement to the Jeu de Paume exhibition, by presenting 26 of Garry Winogrand’s photographs, some of which have never been seen before. Each of these photos will be reproduced several times across the network so that in total some 300 images will await the passengers as they travel around Paris.

The exhibition takes two distinct forms:❙ From October 14th to October 27th 2014* At the following stations: Cité (line 4), Concorde (in the corridor connecting lines 1 and 8), Gare Montparnasse (line 13), Gare Saint-Lazare (line 12), Gare de Lyon (line 1), Gare de l’Est (line 5), Gare du Nord (line 4), Gare d’Austerlitz (line 5), Saint-Augustin (line 9).* Two image formats will be presented, 4x3 metres on the platforms and 2x1.50 metres on the billboards in the station corridors.

❙ From October 14th 2014 to February 8th 2015* At the following stations: Bir Hakeim (line 6), Hôtel de Ville (line 1), La Chapelle (line 2), Jaurès (under the viaduct - line 2), Saint-Denis Porte de Paris (line 13), Saint-Michel (line 4) and Gare Luxembourg (RER B).* Larger format images will be displayed in areas that are now dedicated to photography with a specific scenography (printed on large format canvas sheets, hung in higher positions…).

By exhibiting these street photos throughout its transport network, the RATP is inviting the general public to see the town through different eyes and discover its wealth and diversity.

1 The RATP (Régie autonome des transports parisiens) is in charge of running a major part of the public transport system in Paris and its suburbs.

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Garry Winogrand New York, ca. 1962 Posthumous digital reproduction from original negative The Garry Winogrand Archive, Center for Creative Photography, The University of Arizona © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

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❙ AN EPIC CHRONICLER OF POSTWAR AMERICA

Born in the Bronx, Winogrand did much of his best-known work in Manhattan during the 1960s, and in both

the content of his photographs and his artistic style he became one of the principal voices of that eruptive

decade—so much so that influential Museum of Modern Art curator John Szarkowski anointed him “the central

photographer of his generation.”

Known primarily as a street photographer, Winogrand, who is often associated with his famous contemporaries

Diane Arbus and Lee Friedlander, photographed with dazzling energy and incessant appetite, exposing some

20,000 rolls of film in his short lifetime. He photographed business moguls, everyday women on the street,

famous actors and athletes, hippies, rodeos, politicians, soldiers, animals in zoos, car culture, airports, and

antiwar demonstrators and the construction workers who beat them bloody in view of the unmoved police.

Daily life in postwar America—rich with new possibility and yet equally anxious, threatening to spin

out of control—seemed to unfold for him in a continuous stream.

Yet if Winogrand was one of New York City’s prime photographers, he was also an avid traveler who roamed

widely around the United States, bringing exquisite work out of locations that included Los Angeles,

San Francisco, Ohio, Dallas, Houston, Chicago, Colorado, and the open country of the Southwest. “You could

say that I am a student of photography,” he said, “and I am; but really I’m a student of America.” Winogrand’s

expansive visual catalogue of the nation’s evolving social scene has led to comparisons to Walt Whitman,

who also unspooled the world in endless lists of people, places, and things.

Winogrand’s pictures often bulge with twenty or thirty figures, and are fascinating both for their dramatic

foregrounds and the sub-events at their edges. Even when crowded with people or at their most lighthearted —

he was fond of visual puns and was drawn to the absurd—his pictures can convey a feeling of human isolation,

hinting at something darker beneath the veneer of the American dream. Early on, some critics considered his

pictures formally “shapeless” and “random,” but admirers and critics later found a unique poetry in his tilted

horizons and his love of the haphazard.

“Winogrand was an artistic descendant of Walker Evans and Robert Frank, but differed sharply from them,”

says Rubinfien. “He admired Frank’s The Americans, but felt the work missed the main story of its time, which in

his mind was the emergence of suburban prosperity and isolation. The hope and buoyancy of middle-class life

in postwar America is half of the emotional heart of Winogrand’s work. The other half is a sense of undoing.

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The tension between these qualities gives his work its distinct character.”

After serving in the military as a weather forecaster, Winogrand first began working as a photographer while

studying painting on the G.I. Bill at Columbia University (1948–51). During that time, he also studied briefly

with Alexey Brodovitch at the New School for Social Research. While pursuing his personal work, he began

supplying commercial photographs to a number of general-interest magazines such as Life, Look, Sports

Illustrated, Collier ’s, and Pageant, which were then at the height of their power and reach. His career was further

shaped by the decline of those magazines and the rise of a new culture of photography centered in the art

world.

“Winogrand worked at a moment when the boundaries between journalistic and artistic photography were

less certain than they had ever been, yet it was also a time when the most advanced photographers were

consciously abandoning journalistic values,” says Greenough. “The social landscape he photographed—the

dislocation of urban life, the rise of the suburb with its growing alienation, the skepticism of youth, and the

collusion of the press and the powerful—was of concern to many Americans. Yet Winogrand rarely pursued

an obvious means to explicate these ideas, preferring poetic evocation over intelligible journalism.”

Winogrand went on to exhibit widely at prominent museums and achieved renown in his lifetime. Yet despite

this recognition, he is perhaps the most inadequately understood of all his contemporaries.

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❙ “UNFINISHED” LATE WORK THOROUGHLY INVESTIGATED FOR THE FIRST TIME

The act of taking pictures was far more fulfilling to Winogrand than making prints or editing for books

and exhibitions—he often allowed others to perform these tasks for him. Near the end of his life, he spoke

of reviewing and reediting all of his photographs, but never had a chance to oversee the shaping of his

legacy, or even to review much of the output of his later years. Because of his working methods and his lack

of interest in developing his film toward the end of his life, he left behind more than 2,500 rolls of exposed

but undeveloped film, an additional 4,100 rolls that he had processed but never seen—an estimated total of

250,000 images that have remained virtually unknown.

Furthermore, Winogrand published just five modest books during his lifetime—The Animals (1969), Women Are

Beautiful (1975), Garry Winogrand (1976), Public Relations (1977), and Stock Photographs (1980)—which represent

only a fraction of his work and are mainly confined to narrow topical frames that do not suggest the full scope

of his importance.

“One reason that Winogrand is only now receiving the full retrospective treatment already devoted to peers of

his era, including Diane Arbus, Lee Friedlander, and Robert Frank, is that any truly comprehensive consideration

of his life’s work requires contending with the practical and ethical issues surrounding the vast archive he left

behind,” says O’Toole. “In the absence of explicit instructions from him regarding how he wanted his work to

be handled after he was gone, its posthumous treatment has been the subject of ongoing debate and raises

provocative questions about the creative process and its relationship to issues specific to the medium.”

“Some argue that what was left behind should be left alone, and that no one should intrude upon the

intentions of an artist,” adds Rubinfien. “But the quantity of Winogrand’s output, the incompleteness with which

he reviewed it, and the suddenness of his death create a special case in which the true scope of an eminent

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Garry WinograndCentral Park Zoo, New York, 1967Gelatin silver print; Collection of Randi and Bob Fisher© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San FranciscoPhoto: Don Ross

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photographer’s work cannot be known without the intervention of an editor.”

Now housed at the Center for Creative Photography of the University of Arizona, Tucson, Winogrand’s

“unfinished” work was initially organized in the years just after his death by several colleagues and friends

in preparation for the artist’s first major museum retrospective, held at the Museum of Modern Art, New York

(MoMA) in 1988. Exhibition curator John Szarkowski felt the quality of Winogrand’s work had significantly

deteriorated in the last 15 years of his life, and included only a small group of pictures from the mysterious late

work in MoMA exhibition.

Nearly thirty years have elapsed since the last attempt to grapple with the complete arc of Winogrand’s

career. Benefiting from new curatorial research undertaken for this project, the current exhibition will provide

a long-awaited reevaluation of his accomplishments.

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GARRY WINOGRANDabbreviated chronology with select exhibition history

1928 Born in New York on January 14.

1946-1947 Joins the U.S. Army Air Forces, and is discharged after less than a year

because of an ulcer.

1951 Studies photography with Alexey Brodovitch at the New School for Social Research,

New York.

1952 Marries Adrienne Lubow.

1955 Makes first photographic trip across the United States.

The Family of Man, Museum of Modern Art, New York.

1956 Daughter Laurie is born.

Ca. 1957-1960 Tells Adrienne he wants to stop doing commercial work and begin photographing

“for himself.”

1958 Son Ethan is born.

1960 First one-person exhibition.

Photographs by Garry Winogrand, Image Gallery, New York.

1961 Edward Steichen, director of the Department of Photography at the Museum of Modern

Art, buys three prints for the museum’s collection.

1962 Adrienne, taking Ethan and Laurie, moves out. During the Cuban missile crisis

Winogrand becomes extremely distraught; he later describes this event as a turning

point in his life.

1963 “Five Unrelated Photographers,“ Museum of Modern Art, New York.

1964 Receives a John Simon Guggenheim Memorial Foundation Fellowship to make

“photographic studies of American Life.”

Kodak Pavilion, New York World’s Fair.

The Photographer’s Eye, Museum of Modern Art, New York.

1966 Divorce from Adrienne becomes final. Adrienne retains custody of the children.

Toward a Social Landscape, George Eastman House of Photography, Rochester,

New York.

1967 Marries Judy Teller. Teaches at Parsons School of Design, New York.

“New Documents,“ Museum of Modern Art, New York. Traveled to thirteen American

venues.

1968 Teaches at the School of Visual Arts, New York (until 1971).

1969 Photographs at the launching of Apollo 11. Separates from Judy Teller. Receives second

Guggenheim Fellowship, to study “the manufactured news event.” The Animals is

published.

“The Animals,“ Museum of Modern Art, New York.

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1970 Marriage to Judy Teller is annulled. Joins faculty of the Cooper Union for the

Advancement of Science and Art, New York, as adjunct professor of photography.

1971 Joins faculty of the Institute of Design, Illinois Institute of Technology.

1972 Visiting artist and lecturer at the Cooper Union for the Advancement of Science and Art.

Receives a grant from the New York State Council on the Arts. Marries Eileen Adele

Hale.

1973 Joins the faculty of the University of Texas, Austin as a lecturer in photography (until

1978).

1974 First portfolio, Garry Winogrand, published. Daughter Melissa is born.

1975 Receives grant from the National Endowment for the Arts. Women Are Beautiful is

published. Undergoes thyroid gland surgery. Knee and leg are broken at a football

game when he is hit by three players while photographing on the sidelines.

“Garry Winogrand: Women Are Beautiful,“ Light Gallery, New York.

1976 “The Great American Rodeo,“ Fort Worth Art Museum. Traveled to Colorado Springs Fine

Arts Center and Witte Memorial Museum, San Antonio.

“Garry Winogrand,“ Grossmont College Gallery, El Cajon, California.

1977 Public Relations is published by the Museum of Modern Art.

“Public Relations,“ Museum of Modern Art, New York. Traveled three American venues.

1978 Receives third Guggenheim Fellowship, “to photograph in California.” Moves to Los

Angeles. Portfolio Garry Winogrand is published.

“Mirrors and Windows: American Photography since 1960,“ Museum of Modern Art,

New York. Traveled to seven American venues.

1979 Teaches part-time at University of California, Los Angeles.

1980 Stock Photographs: The Fort Worth Fat Stock Show and Rodeo is published.

“Bruce Davidson and Garry Winogrand,“ Moderna Museet/Fotografiska Museet,

Stockholm.

“Garry Winogrand,“ Galerie de Photographie, Bibliothèque Nationale, Paris.

“Garry Winogrand Retrospective,“ Fraenkel Gallery, San Francisco.

1981 Fall term, teaches at University of California, Los Angeles (Extension).

Portfolio Women Are Beautiful is published.

“Garry Winogrand,“ Light Gallery, New York, April.

1981-1984 Portfolio Garry Winogrand: Women Are Better Than Men. Not Only Have They

Survived, They Do Prevail is published.

1983 Portfolio 15 Big Shots is published. His Olympic Arts Festival poster is published in

conjunction with the 1984 L.A. Olympics. Begins donating his work to the archive at the

Center for Creative Photography (CCP) in Tucson, with a gift of sixteen thousand work

prints and fine prints plus over four hundred contact sheets.

Garry Winogrand: Big Shots: Photographs of Celebrities, 1960–80, Fraenkel Gallery,

San Francisco.

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1984 Diagnosed with cancer of the gall bladder duct. Taken to a clinic in Tijuana, Mexico,

in search of treatment; dies shortly after arrival. Memorial services are held at the

Society for Ethical Culture, New York, and later at Will Rogers State Historic Park, Pacific

Palisades, California. Memorial stone is in Mount Moriah Cemetery, Fairview, New

Jersey.

Garry Winogrand: Recent Work, Houston Center for Photography.

“Garry Winogrand: A Celebration,“ Light Gallery, New York.

“Garry Winogrand: Women Are Beautiful,“ Zabriskie Gallery, New York.

1988 Winogrand: Figments from the Real World is published by the Museum of Modern Art.

“Garry Winogrand,“ Museum of Modern Art, New York. Traveled to five American and

five international venues.

1992-1993 Winogrand’s photographic materials and papers, from ca. 1947 to 1984, are acquired

from Eileen Adele Hale by the CCP for the Garry Winogrand Archive. With earlier works

donated by the artist, the archive consists of over 30,000 fine prints and study prints;

20,000 contact sheets with corresponding negatives, 45,500 35mm color slides, plus a

small number of Polaroid prints, 8mm films, and publication-related materials.

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Garry WinograndMetropolitan Opera, New York, vers 1951Tirage numérique posthume d’après un négatif originalGarry Winogrand Archive, Center for Creative Photography, University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

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EVENTS AND PUBLICATION

❙ catalogue

A monographic catalogue will be published to accompany the exhibition.

Garry Winogrand

Texts by Leo Rubinfien, Sarah Greenough, Susan Kismaric, Erin O’Toole, Tod Papageorge, and Sandra S.

Phillips

464 pages

English version published by: San Francisco Museum of Modern Art in association with Yale University Press,

New Haven and London – €60

French version published by: Flammarion / Jeu de Paume – €45

❙ tours and cultural activities

Every last Tuesday of the month, 11am to 9pm

Young Visitors’ Tuesday Tours: free admission for students and visitors under 26 and guided tours of

the exhibitions with a Jeu de Paume lecturer

Wednesdays and Saturdays, 12:30pm

Rendez-vous du Jeu de Paume: tour of the exhibition by a Jeu de Paume lecturer, free on presentation of

an admission ticket

❙ family activities

Saturday, 3:30pm (except the last of the month)

Family Tours

Every Saturday at 3.30pm, except for the last one of the month, Jeu de Paume lecturers receive children (aged 7

to 11) and their parents or accompanying adults for an encounter with images. Several different tours are organized

throughout the year, focusing on images exhibited in the rooms of the Jeu de Paume, projected images, published

images and networked images in the educational area. The youngest also have access to books, images and web-

sites in the educational area.

Duration: 1 hour. Free on presentation of an admission ticket, free for the under-11s

Reservation: 01 47 03 12 41 / serviceeducatif@jeudepaume.org

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The last Saturday of the month at 3:30pm, duration: 2 hours

Les Enfants d’Abord!

Movements in the city

Saturdays 25 October, 29 November, 27 December 2014 and 31 January 2015 at 3:30pm

These tours and workshops for children aged 7 to 11 are organised by the Jeu de Paume on the last Saturday of

the month. They are linked to the current exhibitions and use the facilities of the educational space. Participants are

invited to compose and edit their own photographic images, creating and printing their own portfolio. Maximum of

12 children.

– booking required: 01 47 03 04 95 or lesenfantsdabord@jeudeupaume.org

– free for children

NEW!

12–15ANS.jdp

From movement in images to images in movement

Tuesday 21 and Wednesday 22 October 2014, 2:30pm–5:30pm

Two half-days, duration: 3 hours

Held during the school holidays, on two consecutive afternoons, the 12–15ans.jdp workshops for understanding im-

ages are a chance to explore links between the artistic approaches adopted by exhibiting artists and the practical

experimentation spaces. Computers and other digital tools can be used to produce, transform, mount, exchange,

share and print images. The themes, which change with each workshop, embrace fixed images, images and move-

ment and networked images.

Booking required: 01 47 03 04 95 or 12-15ans.jdp@jeudepaume.org

Free for holders of an exhibition ticket, reductions (see prices on the Jeu de Paume website)

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PRESS IMAGES

❙ CONDITIONS FOR USE

The reproduction and representation of the images in the selection below is only authorized and free of

royalty fees for the purposes of promoting the exhibition at the Jeu de Paume and only for its duration.

GW 01Garry WinograndLos Angeles, 1980–83Gelatin silver printThe Garry Winogrand Archive, Center for Creative Photography, The University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

GW 02Garry WinograndNew York, ca. 1962Gelatin silver printThe Garry Winogrand Archive, Center for Creative Photography, The University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

GW 03Garry WinograndNew York, ca. 1960Gelatin silver printThe Garry Winogrand Archive, Center for Creative Photography, The University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

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GW 04Garry WinograndNew York, ca. 1955Gelatin silver printThe Garry Winogrand Archive, Center for Creative Photography, The University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

GW 06Garry WinograndNew York, 1969Gelatin silver printCollection of Jeffrey Fraenkel and Alan Mark© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San FranciscoPhoto: Don Ross

GW 05Garry WinograndAlbuquerque, 1957Gelatin silver printThe Museum of Modern Art, New York, purchase© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco Digital image © The Museum of Modern Art/Licensed by SCALA/Art Resource, New York

GW 07Garry WinograndNew Haven, Connecticut, 1970Posthumous digital reproduction from original negative The Garry Winogrand Archive, Center for Creative Photography, The University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

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GW 08Garry WinograndHouston, 1964Gelatin silver printThe Garry Winogrand Archive, Center for Creative Photography, The University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

GW 09Garry WinograndLos Angeles, 1964Gelatin silver printSan Francisco Museum of Modern Art, gift ofJeffrey Fraenkel© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San FranciscoPhoto: Don Ross

GW 11Garry WinograndDallas, 1964Gelatin silver printThe Garry Winogrand Archive, Center for Creative Photography, The University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

GW 10Garry WinograndNew York, ca. 1962Posthumous digital reproduction from original negative The Garry Winogrand Archive, Center for Creative Photography, The University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

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GW 13Garry WinograndLos Angeles International Airport, 1964Gelatin silver printThe Garry Winogrand Archive, Center for Creative Photography, The University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

GW 12Garry WinograndCentral Park Zoo, New York, 1967Gelatin silver printCollection of Randi and Bob Fisher© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San FranciscoPhoto: Don Ross

GW 15Garry WinograndPark Avenue, New York, 1959Gelatin silver printcollection National Gallery of Art, Washington, DC, Patrons’ Permanent Fund; image courtesy National Gallery of Art, Washington, DC© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

GW 14Garry WinograndNew York World’s Fair, 1964Gelatin silver printSan Francisco Museum of Modern Art, gift of Dr. L. F. Peede, Jr.© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San FranciscoPhoto: Don Ross

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GW 17Garry WinograndMetropolitan Opera, New York, ca. 1951Posthumous digital reproduction from original negative Garry Winogrand Archive, Center for Creative Photography, University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

GW 16Garry WinograndFort Worth, Texas, 1974–77Gelatin silver printGarry Winogrand Archive, Center for Creative Photography, University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

GW 19Garry WinograndRichard Nixon Campaign Rally, New York, 1960Posthumous digital reproduction from original negative Garry Winogrand Archive, Center for Creative Photography, University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

GW 18Garry WinograndDemocratic National Convention, Los Angeles, 1960Posthumous digital reproduction from original negative Garry Winogrand Archive, Center for Creative Photography, University of Arizona© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

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❙ CONDITIONS FOR USE

SFMOMA is committed to protecting the copyrights and other intellectual property rights of creative artists

and other owners of intellectual property rights. SFMOMA grants permission to use image(s) only to the extent

of its ownership rights relating to those image(s). Certain works of art, as well as photographs of those works

of art, may be protected by copyright, trademark, or related interests not owned by SFMOMA. The responsi-

bility for ascertaining whether any such rights exist and for obtaining all other necessary permissions remains

solely with the party reproducing the image(s). SFMOMA reserves the right to request copies of such permis-

sions. In addition, image(s) must be reproduced with notice of attribution, and the party reproducing the

image(s) may not crop, distort, mutilate, or otherwise modify the image(s) in any manner that would prejudice

the artwork or the artist’s honor and reputation. W 15Garry Winogrand, New York World’s Fair, 1964; gelatin silver print; San Francisco Museum of Modern Art, gift of Dr. L. F. Peede, Jr.; © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San FranciscoPhoto: Don Ross

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PRINCIPAL PARTNERS OF THE EXHIBITION

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❙ neuflize vie

Neuflize Vie has been the Jeu de Paume’s principal partner since the museum was founded in 2004 and has supported all its ventures. To mark the tenth anniversary of this national institution devoted to the image, the Company has chosen in particular to support the highlight of the 2014 programme: the retrospective of the work of Garry Winogrand (1928–1984). By contributing to the organisation in France of this exhibition, which has been such a success in San Francisco and Washington, DC, the Company is keen to enable the Parisian public to discover a seminal figure of 20th-century American photography, someone who died prematurely, in 1984, at the age of 56, and whose timeless work remains little known.

Through this partnership, Neuflize Vie, which has always actively supported the dissemination of contemporary photography, hopes that as many people as possible will be able, like it, to appreciate the impact of the images produced by this master of post-war American street photography, who forged a disarmingly contemporary approach to composition. In the belief that photography helps us to understand the world, the Company invites the public to discover, through the images of Garry Winogrand, “who we are and what we feel, by seeing what we look like”, to borrow the words of this American artist, for whom photography was an investigative tool. His subject was the hurly-burly of the city, the interaction of looks, bodies and gestures, in other words, the spectacle of life itself in constant movement. Garry Winogrand was undoubtedly an “explorer”, someone who epitomised the spirit of experimentation, always working at the frontiers of the discipline, taking risks, examining all the options, fearlessly exploring every avenue, and thereby raising the question of the value of photography. Despite its pervasive and sometimes dark humour, most of his work defies symbolic interpretation. It neither describes nor records; it is above all the embodiment of a photographic vision.

About Neuflize Vie : A sincere and enduring commitmentSince it was founded in 1990, Neuflize Vie (the life insurance company of the private bank Neuflize OBC) has been an active sponsor in the field of contemporary photography, responsive to the needs of its partners, such as the Maison Européenne de la Photographie and Le Point du Jour in Cherbourg, which it has been proudly supporting from the beginning, as well as the Jeu de Paume, for which it has been the historic principal sponsor. In 1997, it expanded its activities by initiating an important collection of photographic and video works, the Collection Neuflize Vie, and by creating a company foundation aimed in particular at fostering teaching and research projects, such as the ones it supports at the École du Louvre and the Beaux Arts de Paris. For Neuflize Vie, this wide-ranging, multi-dimensional commitment is a way of deepening its understanding of other people and the ever-changing world through the intuitive, perceptive visions of the artists it is associated with. It also reflects its determination to act as a responsible company, conscious of its role in society. In 2014, Neuflize Vie supported in particular Éric Poitevin’s book published on the occasion of his exhibition “Le Chemin des Hommes” at the LaM in Villeneuve-d’Ascq, which was awarded the Centenaire seal of approval by the Mission du Centenaire de la Première Guerre Mondiale. A sincere and committed sponsor, Neuflize Vie has a long-term commitment to fostering projects aimed at making culture accessible to the greatest number of people, as demonstrated by its support for the Nuit Blanche organised by the Ville de Paris. It is also committed to bringing art to specific sections of the population, such as the young (with the MEP and the Jeu de Paume) and the partially sighted (Musée des Abattoirs, LaM).

“Sponsorship” press contact: Anne Samson Communications agency / +33 (0)1 40 36 84 33

Neuflize Vie contact: Céline Savy (Director of Communications) / +33 (0)1 56 21 79 24

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❙ the manufacture Jaeger-lecoultre a watchmaker committed to supporting the image

For seven years, Jaeger-LeCoultre has been proud to be associated with the Jeu de Paume and will once

again be present in its role as partner of the “Garry Winogrand” exhibition, being held in Paris in autumn

2014. Jaeger-LeCoultre, imbued with a visionary spirit for more than 180 years, continues to support

the world of the image and reaffirms its attachment to artistic creation in the world of photography and

cinema. Loyal to the main events on the Jeu de Paume’s programme, Jaeger-LeCoultre has supported

several major exhibitions, including Cindy Sherman, Lee Friedlander, Edward Steichen, Richard Avedon,

Federico Fellini, Diane Arbus and Laure Albin Guillot.

In 2010, the Manufacture wished to extend its commitment by assisting the production of the work Les Inséparables

by Esther Shalev-Gerz, a double clock that was the centrepiece of the artist’s exhibition.

Closer to the Joux Valley where the Manufacture has been based since 1899, Jaeger-LeCoultre also supported the

organisation of the project for the Musée de l’Elysée in Lausanne: a double anniversary exhibition organised to mark

the 20 years and 25 years of the museum. “ReGeneration” was an opportunity to discover young photographers

from all over the world who came to Lausanne to exhibit their promising work. For Jaeger-LeCoultre, the art of time

is reflected in the constant desire for improvement, with the aim of attaining technical virtuosity and excellence.

The world of fine watch and clock-making and the art of the image undoubtedly require the same faculties: vision,

attention to detail, the improvement of ancestral expertise combined win an endless creativity and passion. Both

have the same aim: the emotion of discovery and questioning. For 10 years, Jaeger-LeCoultre has also supported

the art of film. As a partner of the main film festivals throughout the world, such as the festivals of Venice, New York,

Toronto and Los Angeles, as well as San Sebastian, Shanghai and Abu Dhabi, the company also supports the

projects of directors and the restoration of old films.

180 years of history . . . The Manufacture Jaeger-LeCoultre, with its considerable expertise in making

timepieces, also holds a treasure linked to the world of photography . . .

Three quarters of a century ago, the history of Jaeger-LeCoultre became interwoven with that of photography. An

Englishman, Noel Pemberton Billing, a businessman and pilot, decided to try and make a camera of unprecedented

quality, combining every feature imaginable and small enough to fit into a cigarette pack. He decided to entrust the

project to Jaeger-LeCoultre. Thus the company ended up making one of the most incredible cameras of the time, the

Compass. It took three years of work to develop the 290 components of this camera, which caused a sensation both

on account of its avant-garde design and its features. After World War II, production of the Compass ceased, but a

few examples remain among the treasures of the company’s heritage.

Contact Jaeger-LeCoultre: Isabelle Gervais / International Public Relations Director / +41 (0) 21 845 01 50

www.jaeger-lecoultre.com

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❙ la ratp invite... garry winogrand

For the fourth “La RATP invite”, the RATP joins forces with the Jeu de Paume to support the exhibition

“Garry Winogrand (1928–1984)”.

From October 2014 to February 2015, it will display photographs by Garry Winogrand in around fifteen

stations and metro stops on its network, giving the general public a unique chance to see the work of this

American artist. Some of these images will not be seen anywhere else, thereby enabling passengers to

extend their visit to the Jeu de Paume.

The photographs will be displayed in the stations in several ways: in a 4 x 3 m format on the platforms and

2 x 1.5 m in the corridors. In certain spaces, they will be given large-scale presentations (for example, on large

hoardings suspended from metro viaducts).

As the images will be reproduced several times, around 250 in all will be scattered around the network.

“La RATP invite”, an initiative launched in October 2013, has become a regular feature that demonstrates the fresh

impetus that the company has given to its cultural programme through photography. The company is committed

to regularly showcasing the images of young photographers – emerging talents and renowned artists – thereby

paying tribute to their work by displaying it on a large scale in the public transport system.

Through photography, an immediate art form and a mode of artistic expression that is accessible to all, the RATP

wishes to reinforce interchange with its customers, expanding its policy of bringing its spaces to life and making

them more convivial.

Throughout the year, the RATP is organising cultural and sporting events across its network, thereby offering

passengers moments of relaxation, surprises, discoveries and exchanges . . . reinforcing its aim of bringing

“Aimer la Ville” to the largest number of people possible.

Contact: Public relations / +33 (0) 1 58 78 37 37

www.ratp.fr

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JEU DE PAUME The Jeu de Paume is an arts center with a strong reputation for exhibiting and promoting all forms of

images from the XXth and XXIst centuries (photography, cinema, video, installation, web art, etc.). As well

as organizing or co-organizing exhibitions, it hosts film programs, symposia, seminars and educational

activities, and also publishes a range of material. With its high-profile exhibitions of established, little-known

and emerging artists (notably in the Satellite program), the Jeu de Paume ties together different narrative

strands, mixing the historic and the contemporary, oscillating between resonance and dissonance, attracting

broad and diverse audiences.

Beyond its flagship building on Place de la Concorde, Paris, the Jeu de Paume has, since 2010, developed a

partnership with the city of Tours for the presentation of exhibitions with a more historic resonance at the Château de

Tours. These events showcase donations made to the state and archives conserved by public and private institutions

both in France and abroad in a program designed to attract new categories of visitor from the region. As well as

being shown at these two venues, exhibitions organized by the Jeu de Paume are seen around the world thanks

to collaboration, interaction and cooperation with other national or international institutions on the basis of mutual

affinities.

Since 2007 the Jeu de Paume has been working to expand its online activities, developing a dedicated “virtual space”

with an innovative program of special web-based projects and thematic shows entrusted to curators specializing in the

digital arts. Film programs are devised to accompany many of the exhibitions, or to pay tribute to major figures of the

independent filmmaking scene in France and abroad. Specializing in documentary, essay and autobiography, with an

emphasis on previously unscreened work, the programming helps bring filmmakers together with artists. All activities at

the Jeu de Paume are driven by a deep concern for interdisciplinarity in the study of visual culture and images and by

a quest for new meaning in all fields of thought. Talks, seminars and symposia explore the questions and themes raised

by the exhibitions, helping to open up new spaces for critical interaction.

The Jeu de Paume’s modular space enables it to adapt to the varying demands imposed by its activities and confirms

its ambition to provide all its users with an active hub and resource center for education in photographic imagery and

the history of representation and the visual arts. Tours and courses, initiatives for students and teachers, and activities

for families and young visitors, are the focal points of its didactic program. The emphasis here is on participation rather

than contemplation, exchange rather than the “colonization of knowledge,” and sharing rather than the monopolization

of ideas. The Jeu de Paume programme at the Château de Tours also helps extend the dynamic of these educational

activities regionally.

Le magazine, an online publication launched in 2010, draws on a range of resources (video, photo gallery, audio and

text files) to extend the debate to the use of images in the digital era. Le magazine is a unique platform for artistic

content, in-depth articles, virtual tours and portfolios. It is a web-based forum for dialogue between historians,

philosophers, artists, curators, filmmakers, poets and art lovers. Finally, the Jeu de Paume is home to a high-quality

bookshop dedicated to offering an ambitiously comprehensive selection of books and publications to further

knowledge of the artists, photographers and filmmakers showcased by the institution. It holds a permanent stock of

some ten thousand titles on aesthetics, art history and theory, cinema, photography and the new technologies.

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View of the Jeu de Paume, Paris © Photo Romain Darnaud, Jeu de Paume

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PRACTICAL INFORMATION

❙ Jeu de paume

Address

1 Place de la Concorde, 75008 Paris

+33 (0)1 47 03 12 50

www.jeudepaume.org

Opening hours

Tuesday (late-night): 11am–9pm

Wednesday to Sunday: 11am–7pm

Closed Monday

Admission

General admission €10 / Reduced rate €7.50

Free admission: Satellite program; Young Visitor’s Tuesday (the last Tuesday of the month, 11am to 9pm for students

and under-26s); children under-12s

Tickets can be booked online via the Jeu de Paume website, with the Fnac, Digitick and Ticketnet

Members and cultural partners

Free, unlimited admission to exhibitions and all the Jeu de Paume’s cultural activities

Annual membership: full rate €30 / reduced rate €25 / youth rate €20

❙ press visuals

Copyright-free visuals can be downloaded from the website www.jeudepaume.org

User name: presskit / Password: photos

❙ contact information

Press officer: Laurence Gillion +33 (0)1 47 03 13 22 / laurencegillion@jeudepaume.org

Communications: Anne Racine: +33 (0)1 47 03 13 29 / anneracine@jeudepaume.org

discover the jeu de paume’s online magazinewww.jeudepaume.org/lemagazine

@Jeudepaumeparis#winogrand

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