Garry Winogrand: All Things are Photographable is the first documentary film on the life and work of photographer Garry Winogrand – the epic storyteller in pictures of America across three turbulent decades of the 20th century.
Garry Winogrand (1928-1984, New York) was the undisputed star of American photography. Since the fifties he has focused his endless goal on the life of New York and other cities, photographing political and cultural events, conferences and demonstrations of protest, inaugurations of exhibitions and social events.
His ironic and instinctive images, characterized by an acute ability to observe human behavior, restore the atmosphere of an entire era by exposing American society, with the vices and virtues that have come so much more. His Leica M4 snapped spontaneous images of everyday people, from the Mad Men era of New York to the early years of the Women’s Movement to post-Golden Age Hollywood.
He was in-arguably one of the most prolific street photographers of his time (he shot over 5 million photographs in his career) and one of the most passionate. However, he hated the term “street photographer” and simply saw himself as a “photographer”.
He shot very prolifically during his life: at the time of his unfortunate early-death (at age 56) he left behind 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures (not made into contact sheets), and contact sheets made from about 3,000 rolls.
In addition to that, the Garry Winogrand Archive at the Center for Creative Photography has over 20,000 fine and work prints, 20,000 contact sheets, 100,000 negatives and 30,500 35mm colour slides as well as a small group of Polaroid prints and several amateur motion picture films.
Consecrated in 1963 with an important exhibition at the MoMA in New York, his work is present in major collections around the world.
The movie 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.
Garry Winogrand: “All Things are Photographable” is an intimate portrait of a man.