Publisher's Description Garry Winogrand (1928-1984) was a native New Yorker whose photographs of public life epitomized the indigenous pulse and social complexity of the urban scene after World War II. His photographs embody their time and conjugate a new photographic street style, commemorated in hundreds of international publications and museum collections, including three monographs produced by the Museum of Modern Art and the provocative tribute Women Are Beautiful. Despite Winogrand's inevitable identification with New York City, many of his most iconic and memorable images were made outside of his hometown, especially in California and Texas. In 1964, with the support of the first of three Guggenheim Fellowships, Winogrand traveled for five months to seventeen states. He recorded an America in transition, while expanding his dominance of street photography to include a brilliant on-the-road aesthetic. With this body of work, his influence on photography crystallized, his later work was foretold, and he became recognized as a critical photographic interpreter of the sixties. The prints he edited and enlarged from hundreds of rolls of film exposed in 1964 are now found in the Garry Winogrand Archive at the Center for Creative Photography at the University of Arizona. The archive is an unprecedented public resource, containing the photographer's prints, negatives, contact sheets, and papers. Winogrand: 1964 gives cohesive form to Garry Winogrand's America, in over 200 photographs made in a single year, the majority previously unpublished. Taken together, these unparalleled, newly researched images depict the country at a cultural crossroads, still a frontier nation-naive and quirky-but increasingly linked by information and entertainment media. Winogrand travels the United States with his characteristic appetite for life-shooting on the beach, at state fairs and stock shows, tourist attractions and sporting events-creating what Tod Papageorge deemed "the most accessible body of pictures he ever made." A year after the assassination of JFK, Winogrand summons the national mood as the Vietnam War begins and the Civil Rights movement results in significant legislation. In the year of Dr. Strangelove and the New York World's Fair, Winogrand searches for meaning in his work and the world it reflects. "I look at the pictures I have done up to now," he wrote in 1963, "and they make me feel that who we are and what we feel and what is to become of us just doesn't matter." Many of Winogrand's most famous photographs debuted in New Documents, the Museum of Modern Art's pivotal 1967 exhibition. Many from that selection remained unpublished until now, as did more than a hundred new images culled from the vast archive at the Center for Creative Photography. Discoveries from this remarkable collection include unexpected color work shot hand in hand with black and white, an entire oeuvre of views through Winogrand's windshield and car windows, and magnificent compositions made at airport terminals, where he sought "how to deal with terror." In all, Winogrand: 1964 constitutes his own American Photographs or The Americans, combining an uncanny, hairpin-turn formalism with a comedic, almost palpable empathy for his subjects and his country. Each picture is a strange, unforgettable surprise.