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Maybe I got sucked in by the fact it is A FRIKKING MONKEY RIDING A SHEEP DOG IN SOME MUDWORLD MAMMAL OLYMPICS! … maybe the photo is a document of animal misuse. It’s mad-bonkers.
Either way, this photo of animals being forced to do unnatural things under the watchful eye of humans seemed to say more about the Angola Prison Rodeo than the thousands of images I’ve seen of people at the Angola Prison Rodeo. It’s a weird event.
See Bettina’s full set from the Angola Prison Rodeo.
(All of this explains the title to this interview with me from ages ago. I never understood the title at the time.)
http://www.damonwinter.com/ > STORIES2 > 5 > ANGOLA PRISON RODEO
The image above is new and one of Damon’s preferred images.
Also since then, Winter covered Haiti. It was his first work in a disaster area. This week, Winter’s Afghanistan i-Phone images hit the front page of the New York Times – Between Firefights, Jokes, Sweat and Tedium (James Dao, November 21, 2010)
On those i-Phone Hipstamatic App shots … three things.
1) David Guttenfelder did the same thing earlier this year with a Polaroid App.
2) The simple i-Phone angle is not a story. Judging by the cursory Lens Blog entry, I think James Estrin and Winter might have known this.
3) I’ll pass on the i-Phone photos. Mainly because these have got a stupid amount of attention; attention that should be going to Winter’s videography and incredible number of stories in his short time in Afghanistan.
Damon, I still love your portraits and I still dig your work!
I’d also like to recommend my interview with Winter (for Too Much Chocolate) about his career trajectory.
In 1964, with the support of a Guggenheim fellowship, Garry Winogrand traveled over four months to fourteen states and recorded an America in transition.
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AmericanSuburbX has republished Carl Chiarenza‘s “Standing on the Corner – Reflections Upon Garry Winogrand’s Photographic Gaze – Mirror of Self or World? Pt. I” (1991) originally in IMAGE Magazine: Journal of Photography and Motion Pictures of the International Museum of Photography at George Eastman House, Volume 34, Number 3–4, Fall–Winter, 1991.
Including this statement: “The 1964 Guggenheim Fellowship was awarded to Winogrand to provide him with time to make “photographic studies of American life.” This fact inevitably recalls Robert Frank’s Guggenheim odyssey of a decade earlier. Something to think about—one wants to make comparisons. One wishes there were a Winogrand book comparable to Frank’s The Americans. But there is no such book.”