The story doesnt get off to a promising start. It begins with a road rage incident on the opening night of Eric Fischls 1986 Whitney retrospective. Is this going to be a Jay McInerney-esque, drug-addled tale of the 80s? Or will it be a self-conscious confessional, as foreshadowed in the next chapter detailing Fischls painful suburban childhood? Its unclear whether the book is going to be an entertaining beach read or a satisfying insight into the mind of a commercially successful, deep-thinking, and influential artist.
I had planned to review Mark Hagens 2013?: A Doomsday Day Planner at least six months agoin other words, before 2013 began. It just never turned up at my door. December 21, 2012, came and went without a noticeable Mayan recalibration of the cosmos, and I didnt dwell much on the missing book, which, after all, was predicated on the idea that you probably werent going to need it. The planners (non)existence, for that very reason, felt like an elaborate joke unto itself. 2013? Get real.
For many young photographers in the 70s and 80s, Winogrand was a mythic figure. The territory Winogrand carved first in the streets of Manhattan, and later in the rodeos of Texas, the airports of New York City, and the open streets of Los Angeles, helped established a photographic language of spontaneous engagement with the world.