Philip-Lorca diCorcia:Strangely, I doubt that anybody in a photo program right now thinks of Garry Winogrand as their prime motivation, although the current practice of photography does have a certain relationship to his work, which could now seem outmoded. I think part of what he did, which is today a process in contemporary photography and art, was to break assumptions.
Leo Rubinfien:Well, maybe that’s one reason why people should look at him again now. The work is very free, and it remains fresh. It’s powerful but it refuses to make grand declarations—it’s powerful partly because it refuses to do that. It’s only outmoded if one thinks that art progresses in a linear way, and that this year’s art disqualifies last year’s. But I don’t believe that there is any such progression. That kind of thinking is a fiction of certain criticism and of the art market. If a work of art is alive, it is alive, no matter when it was made. There is something tremendously open-ended about Winogrand’s work. It’s there picture by picture, and in the overall body of work. It’s a quality of Winogrand’s, but it was a quality that artists often sought in the 1960s. Fellini once said: “To make a movie that has an ending is immoral.” It’s immoral. It’s to lie to the audience. Because life has no endings; life is all flux and discontinuity.