Edited with text by Sarah Hermanson Meister. Text by Max Kozloff.
In the past decade a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life, but to know it. —John Szarkowski
In 1967, The Museum of Modern Art presented New Documents, a landmark exhibition organized by John Szarkowski that brought together a selection of works by three photographers whose individual achievements signaled the artistic potential for the medium in the 1960s and beyond: Diane Arbus, Lee Friedlander and Garry Winogrand.
Though largely unknown at the time, these three photographers are now universally acknowledged as artists of singular talent within the history of photography. The exhibition articulated a profound shift in the landscape of 20th-century photography, and interest in the exhibition has only continued to expand. Yet, until now, there has been no publication that captures its content.
Published in celebration of the 50th anniversary of the exhibition, Arbus Friedlander Winogrand features full-page reproductions of the 94 photographs included in the exhibition, along with Szarkowski’s original wall text, press release, installation views and an abundance of archival material. Essays by curator Sarah Hermanson Meister and critic Max Kozloff, who originally reviewed the exhibition for The Nation in 1967, critically situate the exhibition and its reception, and examine its lasting influence on the field of photography.
Sarah Hermanson Meister is Curator of the Department of Photography at The Museum of Modern Art, New York.
Max Kozloff is a New York-based writer and photographer.
Kristen Gaylord is Beaumont and Nancy Newhall Curatorial Fellow of the Department of Photography at The Museum of Modern Art, New York
Featured images are reproduced from 'Arbus Friedlander Winogrand: New Documents, 1967.'
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In a 1967 flier for the now-seminal exhibition New Documents, featuring the work of relatively unknown photographers Diane Arbus, Lee Friedlander and Garry Winogrand, MoMA curator John Szarkowski wrote, "In the past decade a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life, but to know it. Their work betrays a sympathy—almost an affection—for the imperfections and the frailties of society. They like the real world, in spite of its terrors, as the source of all wonder and fascination and value, and find it no less precious for being irrational." Featured image, "Los Angeles Dreamin'" (1965) by Lee Friedlander, is reproduced from Arbus Friedlander Winogrand: New Documents, 1967. Amazingly, this fiftieth-anniversary edition is the first volume ever to catalogue the exhibition. continue to blog
In a 1967 review of MoMA photography curator John Szarkowski's seminal New Documents show—featuring the work of Diane Arbus, Lee Friedlander and Garry Winogrand—Max Kozloff wrote, "What these photographers have in common is a complete loss of faith in the mass media as vehicle, or even market for their work. Newsiness, from the journalistic point of view, and 'stories,' from the literary one, in any event, do not interest them. They have long since agreed with the innocent message of Philip Roth in his famous article, 'Writing American Fiction,' in which he despairs of the power of current fiction to surpass the incredibility of the American scene itself, a scene that had elected Eisenhower as its President. Now we have movie stars and racist restaurant owners for governors, and the novelists can't possibly invoke the look of an atmosphere that could ever have permitted them." Words that have resonance even today. "World's Fair" (1964), by Garry Winogrand, is reproduced from Arbus Friedlander Winogrand: New Documents, 1967, launching tonight at the Strand. continue to blog
Tuesday April 4 from 7:30 - 8:30 PM, Strand Bookstore presents MoMA curator Sarah Hermanson Meister and critic Richard B. Woodward discussing the enduring significance of the groundbreaking 1967 MoMA exhibition New Documents, curated by John Szarkowski and featuring the work of relatively unknown American photographers Diane Arbus, Lee Friedlander, and Garry Winogrand. continue to blog
Tuesday April 4 from 7:30 - 8:30 PM, the Strand Bookstore presents MoMA curator Sarah Hermanson Meister and critic Richard B. Woodward discussing the enduring significance of the groundbreaking 1967 MoMA exhibition New Documents, curated by John Szarkowski and featuring the work of Diane Arbus, Lee Friedlander and Garry Winogrand. In celebration of the 50th anniversary of the exhibition, MoMA has published Arbus Friedlander Winogrand: New Documents, 1967, featuring full-page reproductions of the 94 photographs included in the exhibition, along with Szarkowski’s original wall text, press release, installation views and an abundance of archival material. continue to blog
FORMAT: Hbk, 9 x 10.5 in. / 160 pgs / 125 duotone. LIST PRICE: U.S. $45.00 LIST PRICE: CANADA $60 ISBN: 9780870709555 PUBLISHER: The Museum of Modern Art, New York AVAILABLE: 4/25/2017 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by The Museum of Modern Art, New York. Edited with text by Sarah Hermanson Meister. Text by Max Kozloff.
In the past decade a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life, but to know it. —John Szarkowski
In 1967, The Museum of Modern Art presented New Documents, a landmark exhibition organized by John Szarkowski that brought together a selection of works by three photographers whose individual achievements signaled the artistic potential for the medium in the 1960s and beyond: Diane Arbus, Lee Friedlander and Garry Winogrand.
Though largely unknown at the time, these three photographers are now universally acknowledged as artists of singular talent within the history of photography. The exhibition articulated a profound shift in the landscape of 20th-century photography, and interest in the exhibition has only continued to expand. Yet, until now, there has been no publication that captures its content.
Published in celebration of the 50th anniversary of the exhibition, Arbus Friedlander Winogrand features full-page reproductions of the 94 photographs included in the exhibition, along with Szarkowski’s original wall text, press release, installation views and an abundance of archival material. Essays by curator Sarah Hermanson Meister and critic Max Kozloff, who originally reviewed the exhibition for The Nation in 1967, critically situate the exhibition and its reception, and examine its lasting influence on the field of photography.
Sarah Hermanson Meister is Curator of the Department of Photography at The Museum of Modern Art, New York.
Max Kozloff is a New York-based writer and photographer.
Kristen Gaylord is Beaumont and Nancy Newhall Curatorial Fellow of the Department of Photography at The Museum of Modern Art, New York
