78:, John Szarkowski "suggested that until then the aim of documentary photography had been to show what was wrong with the world, as a way to generate interest in rectifying it. But this show signaled a change. 'In the past decade a new generation of photographers has directed the documentary approach toward more personal ends,' he wrote. 'Their aim has been not to reform life, but to know it.'" The photographs of Friedlander and Winogrand were closer to each other than the work of Arbus was to either of them. Szarkowski explained that what "unites these three photographers is not style or sensibility; each has a distinct and personal sense of the use of photography and the meanings of the world. What is held in common is the belief that the world is worth looking at, and the courage to look at it without theorizing." This was "photography that emphasized the pathos and conflicts of modern life presented without editorializing or sentimentalizing but with a critical, observant eye."
62:, were sceptical. Neither Arbus, Friedlander nor Winogrand "was well known at the time but all of them came to be considered among the leading talents of their generation" and "considered among the most decisive for the generations of photographers that followed them."
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and is said to have "represented a shift in emphasis" and "identified a new direction in photography: pictures that seemed to have a casual, snapshot-like look and subject matter so apparently ordinary that it was hard to categorize".
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The work in the exhibition, "documentary photography, but not as it was then known or understood", was "considered radical at the time" and "out of step with the times". Critics, such as Jacob
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The Last
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1967 art exhibition at New York's Museum of Modern Art
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Arbus / Friedlander / Winogrand: New
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88:hand-held film cameras. A
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457:Galassi, Peter (2005).
428:Leo, Rubinfien (2013).
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145:University of Illinois
137:University of Missouri
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261:Mora, Gilles (2007).
135:, Springfield, Ohio;
133:Wittenburg University
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167:Related publication
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109:McMaster University
24:was an influential
269:. pp. 40–50.
241:The New York Times
207:Street photography
202:Snapshot aesthetic
117:Cornell University
60:The New York Times
432:. San Francisco:
402:978-1-57958-393-4
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34:John Szarkowski
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305:The Guardian
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459:Friedlander
408:27 December
370:26 December
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311:26 December
246:26 December
189:Max Kozloff
115:, Buffalo;
38:Diane Arbus
500:Categories
391:. London:
213:References
175:New York:
393:Routledge
358:"No. 21"
196:See also
179:, 2017.
53:Details
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94:slides
361:(PDF)
86:35 mm
490:MoMA
467:ISBN
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