In 2013 when John Szarkowski left us, the photography lost an influential and defining figure. Szarkovski known for his importance in post-war American photography, but many others know him for his skills as a great critic and an extraordinary curator. His role of curator and critic was very innovative, he started lots of arguments based on his unconventional thinking.
In 1962, when just 36 years old John Szarkowski started his career as a director in The Museum of Modern Art in New York, he started with presenting Edward Steichen as a curator of group show The Family of Man. The show featured 503 images by 273 photographers. The show was based on an idea of showing the university the human experience such is dead, love and childhood. In
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The book has made clear that photography is different to the other forms of art because of its historical growth. Sharkowski’s connection with photography expressed also in 1967 at the show he curated at Moma called New Documents. At that time rather unknown artists as Diane Arbus, Lee Fiedlander and Garry Winogrand were figured in this show. Contextually and con-figuratively transgressive photos of Diane Arbus recognised for its harsh black and white style. Exhibiting group show of Friedlander and Winogrand collectively with Arbus shows the different understanding of documentary street photography. Connecting this three artists changed …show more content…
When we look back on the show of William Eggleston’s Giude, the disturbing subject matter and the fact, that this show was the first colour photography exhibition, raised the interest in critics and controversy enormously. In an interview, Eggleston reflects the opinion of public and replays that it didn't surprised him or rather offended him at all. From the whole opinions of the critics the most remembered one was critic belonged to Hilton Kramer of New York Times, who famously wrote "Mr. Szarkowski throws all caution to the winds and speaks of Mr. Eggleston's pictures as 'perfect'. Perfect? Perfectly banal, perhaps. Perfectly boring, certainly.”
As we can see now, Kramer was wrong and Szarkowski again showed his absolute believe in talent. His ability is expressed in the greatest writing about modern photography, the Introduction to the book of the exhibition. Looking back, Szarkowski’s talent wasn't in critical mind or acceptance of art trends at the time, but his enthusiasm about experimentation and taking risks with his own reputation. Before his dead in 2007, Szarkowski have fined again his love for taking photographs. He will be remembered as “The man who taught America how to look
The book has made clear that photography is different to the other forms of art because of its historical growth. Sharkowski’s connection with photography expressed also in 1967 at the show he curated at Moma called New Documents. At that time rather unknown artists as Diane Arbus, Lee Fiedlander and Garry Winogrand were figured in this show. Contextually and con-figuratively transgressive photos of Diane Arbus recognised for its harsh black and white style. Exhibiting group show of Friedlander and Winogrand collectively with Arbus shows the different understanding of documentary street photography. Connecting this three artists changed …show more content…
When we look back on the show of William Eggleston’s Giude, the disturbing subject matter and the fact, that this show was the first colour photography exhibition, raised the interest in critics and controversy enormously. In an interview, Eggleston reflects the opinion of public and replays that it didn't surprised him or rather offended him at all. From the whole opinions of the critics the most remembered one was critic belonged to Hilton Kramer of New York Times, who famously wrote "Mr. Szarkowski throws all caution to the winds and speaks of Mr. Eggleston's pictures as 'perfect'. Perfect? Perfectly banal, perhaps. Perfectly boring, certainly.”
As we can see now, Kramer was wrong and Szarkowski again showed his absolute believe in talent. His ability is expressed in the greatest writing about modern photography, the Introduction to the book of the exhibition. Looking back, Szarkowski’s talent wasn't in critical mind or acceptance of art trends at the time, but his enthusiasm about experimentation and taking risks with his own reputation. Before his dead in 2007, Szarkowski have fined again his love for taking photographs. He will be remembered as “The man who taught America how to look