Posts Tagged ‘Paul McDonough’
May 13, 2013 | by Richard Woodward
Scroll down for a slide show of photographs by Winogrand, with audio interviews conducted during the March 6 opening of his posthumous retrospective at the San Francisco Museum of Modern Art.
Garry Winogrand (1928–84) was the first photographer to realize how much juicy comedy could be squeezed out of New York’s art and literary scenes. During the late sixties, early seventies, when he would arrive with his Leica at a Museum of Modern Art opening or a costume ball at the Metropolitan Museum of Art or at Norman Mailer’s fiftieth birthday party, he would sometimes announce to the crowd, “I’m here,” as if an event did not officially begin until he was there to record it.
He was more right than even he might have guessed. Were it not for his mordant photos of those ragged, sybaritic evenings, best represented in the 1977 book Public Relations, it would be hard to imagine them. Mad Men and other dramatic re-creations tidy up the social anarchy of those years; Winogrand’s camera didn’t. From the haphazard lines of men and women awkwardly at ease, uniformed in black tie or a too-tight harem top, heads wreathed with cigarette smoke and piles of teased hair, ghostly moues cut with rictus smiles and rows of perfect teeth, he fashioned dark instants of sublime lunacy. Everyone and everything seems false or imbecilic in his party pictures, his eye exposing secret acts of disintegration within rituals of supposed public glee.
Behind his mockery of the self-satisfied and the strivers, though, is a winking acknowledgement that anyone can appear stricken when blasted by a flash at 1/125 of a second. Photography turns one and all into fools, including—especially—artists like himself, eager to hunt life and trap as many of its fleeting variables as possible inside a 35 mm frame but doomed to return empty-handed far more often than not. Read More »
November 3, 2010 | by Paul McDonough
What turned me away from painting was a realization that the streets and parks of Boston provided me with subject matter that I could not conjure up in my studio. At that point, a blank canvas drew nothing but a blank stare. So, with a newly purchased 35mm Leica loaded with tri-x film, I began my forays into downtown Boston to photograph. The kind of photographs I took then related to my art school days, when I would amble around the city making quick pencil sketches of people on park benches and subways.
After roaming around Vermont in the summer of 1964, I decided to move to Cambridge, MA where I took a full-time job in a commercial art studio. I was by this time married to my first wife and our plan was to save up enough to live for a year in Europe. Instead we wound up in New York, arriving by U-Haul in the summer of 1967. Rents were cheap, and we could now get by on my part-time work in advertising studios. I had abundant free time, and I took full advantage of it.