Arrivals & Departures.

The Airport Pictures of Garry Winogrand.

Photographs by Garry Winogrand. Text by Alex Harris and Lee Friedlander.

Distributed Art Publishers', New York, 2002. 112 pp., 90 duotone illustrations, 11x10¼".

Arrivals & Departures:
The Airport Pictures of Garry Winogrand

Edited by Alex Harris and Lee Friedlander.

If Garry Winogrand photographed everything, all the time, as he is famous for having done, then his pictures of airports convey, despite their dated hair styles and clothing, the many still very familiar sights and spaces and sensations attached to air travel. Arriving at an airport, checking baggage, watching other travelers amble, walk, and sometimes rush by, luggage trailing and flailing and neatly rolling along, passengers waiting forever on those long rows of attached seats, friends and relatives greeting each other and saying goodbye: everything that happened and stills happens in these vast public spaces. Winogrand's airport photographs were taken over a period of 25 years, with the first frame shot around 1958 and the last in 1983, just months before his death. In Winogrand's archive at the Center for Creative Photography at the University of Arizona in Tucson, there are hundreds of contact sheets containing airport images, and over 1,100 prints of airplanes and airports that Winogrand made during his lifetime. Edited by Alex Harris, one of the first to publish selections from this body of work, in DoubleTake magazine in 1996, and longtime friend and colleague Lee Friendlander, Arrivals & Departures assembles 86 of the photographer's most compelling, never-before published images of travelers, flight attendants, airport waiting rooms, airplanes on runways, and all the people and places in between.

Born in 1928 in New York, Garry Winogrand began photographing while in the United States Air Force. His first one-man exhibition was held in 196o in New York, and he was given a solo showing at the Museum of Modern Art, New York,just three years later; landmark group exhibitions in which he took part include Toward a Social Landscape and New Documents. Winogrand received a Guggenheim fellowship in 1964, which led him to photograph extensively in California and the American Southwest; another, in 1969, began a period of work concerned with the effect of the media on public events. Published portfolios of his work include The Animals, Stock Photographs: Fort Worth Fat Stock Show and Rodeo, and The Man in the Crowd. Garry Winogrand died in 1984.

"Winogrand was acutely sensitive to glances, gestures, and body language, and especially to the implicit eroticism of the camera's gaze. His inability to resist taking pleasure in the sights of the world-his compulsive yen to capture on film nearly everything he saw-is, in the end, what makes his images irresistible."
-Andy Grundberg
When Winogrand passed away from cancer in 1984, he left thousands of unprocessed and unprinted rolls of negatives, an immense reservoir of work born of his obsessive desire to see what life looked like when photographed. Though a few of his airport pictures appeared in Figments from the Real World and another 10 showed up in the magazine DoubleTake in the spring of 1996, the photographs presented here have, for the most part, never been published before and come from a huge collection that Winogrand was working towards publishing when he passed away;. Winogrand's long-time friend Lee Friedlander worked with Alex Harris to edit this work for Arrivals & Departures, and Friedlander provides a beautiful tribute to the artist in the brief accompanying essay. "Garry Winogrand was a big man with curly hair the color of a lion's mane and a bawdy good cheer often matched by an equal cantankerousness. He was a bull of a man and the world his china shop. Garry's appetites were huge. The photographic one was consummated and fed by a self with such an itching curiosity...The curiosity was matched by a never-ending engine of high energy, a facile and clear mind, and the ability to summon a will to deal photographically with whatever he saw in front of him."

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