#winograndcolor

[brooklynmuseum]

Travel back in time with a trip through Garry Winogrand: Color, featuring 400 photographs that explore the raw visual poetics of public life in the 1950s and 60s. Be sure to tag your photos with #mybkm for a chance to be featured next!

Photos by recent visitors @hustlethat @neonli @prattdb  @scottolsenphoto  @sarahlukacher @benposter @shawnanthonyfraser @whittneysuggs and @wesbender

[mikepetersphoto]

Absorbing #winograndcolor @brooklynmuseum #streetphotography #museumphotography #realpeople #lumixgx9 #lumix25mm17 #wherelumixgoes https://www.instagram.com/p/Bxkon8EHVWs/?igshid=6z6q0sjtimyr

[brooklynmuseum]

Hurry to the Museum to catch the final two weeks of Garry Winogrand: Color—the first exhibition dedicated to the nearly forgotten color photographs of Garry Winogrand⁠.⁠ Be sure to share your next visit using #mybkm and you may end up on our feeds like recent visitors @tykie.photography @sarahxwhitten @philcooleyphotography @anniecoggan @insanewndrlnd ⁠@jnsphoto @linette @ericpointingatcats and @ameyerowitzadvisory 

[brooklynmuseum]

There's only one month left to experience the first exhibition dedicated to the nearly forgotten color photographs of Garry Winogrand. Closing December 8, Garry Winogrand: Color presents an enveloping installation of large-scale projections comprising more than 400 rarely or never-before seen color photographs that capture scenes across New York City and the United States in the early 1950s to the late 1960s.

[brooklynmuseum]

Thank you, thank you, thank you, and a million times over, thank you for sharing a portion of your year with us! Whether it was exploring the creative worlds of Frida Kahlo, Garry Winogrand, and Pierre Cardin, commemorating the Stonewall Uprising in Nobody Promised You Tomorrow, or taking part in our many public programs and education initiatives, we thank you! We can’t wait to make new memories with you in 2020. Happy New Year!

[brooklynmuseum]

Each week the Brooklyn Museum Summer Interns participate in full-day educational programs that explore the roles of museums through on-site visits and field trips to other institutions around the city. Look out for our weekly posts where we’ll share what we’re doing and learning in the program.

Week 6: The BKM summer interns filed into the boardroom Tuesday morning for another packed day of programming. As someone more wooed by prestige than I’d care to admit, convening in the boardroom tickled my fancy. Esther Woo, Exhibition Project Manager in the Curatorial and Exhibitions Department, met us there to give us a run-down on her role and responsibilities. Esther’s presentation complemented those of our previous speakers from across the Museum in consolidating a holistic understanding of how the Museum functions day to day. As Project Manager, Esther handles the logistics imperative to producing exhibitions on time and in budget.  

After running over time with questions, we hurried down from the boardroom to meet Drew Sawyer, Phillip Leonian and Edith Rosenblum Leonian Curator of Photography, at the entrance of Garry Winogrand: Color. Drew walked us through the exhibit, which I had not yet seen and which I plan on returning to for as long as I can later today. He spoke about Winogrand’s life, his artistic intentions and values, his focus on content-based interpretation. Drew then led us out of Winogrand’s curtained cave of a gallery and into Liz Johnston Artur: Dusha, another photography exhibit on view at the Museum. Liz Johnson Artur’s work juxtaposes Winogrand’s, inviting a comparison between the contemporary, female, Russian-Ghanaian artist’s approach to life photography and Winogrand’s.

After Drew’s walk-through we found refuge from the Museum’s aggressive air-conditioning at the picnic tables. We gobbled down a quick lunch and met back up in front of the museum to board a train (actually, three trains) uptown. Our first field trip of the summer was to the New York Historical Society on the Upper West Side. A representative from the institution's education department greeted us and ushered us through Love and Resistance: Stonewall 50 at the New York Public Library. Unlike the Brooklyn Museum’s Nobody Promised You Tomorrow: Art 50 Years After Stonewall, which we visited together during week 2 of our internship program, the NYHS exhibit presents an artifact-centered historical narrative of LGBTQ+ activism from the 1960s through today.

After our tour we wandered freely throughout the NYHS. We gathered by the entrance and crossed the street to settle on the southern-facing stairs of the Natural History Museum. Under the shade of trees and across from a from a fountain surrounded by pigeons and running toddlers with plastic dinosaurs in hand, we reflected on the exhibit and our day. Our discussion flowed to the Guggenheim’s Mapplethorp exhibit we were assigned to visit independently and summated in the question: Can an exhibit be comprehensively inclusive? How? Maybe in the following closing weeks of our summer we’ll begin to address the pool of questions that have arisen since week 1. Probably we’ll leave with more.

Posted by Ginger Adams

[brooklynmuseum]

If you STILL haven't seen Garry Winogrand: Color, don't be a mus-turd. Today's the last day to ketchup and relish in the artist's rich, but rarely displayed, color works. It mayo even inspire you to become a street photographer. 😏 

[brooklynmuseum]

During the late 1960s, Garry Winogrand began experimenting with 8mm motion picture film. Extending the “montage” effect of the successive images in the slideshow format, the films demonstrate the artist’s growing interest in the moving image. Raw footage from these films, found in his Archive, has been edited together and provides insight into his working methods on the street. He would often photograph his subjects at close range, with or without consent, confronting them directly as they passed by his camera.