Coleman, A. D. ‘‘On Redaction: Heaps and Wholes, or, Who
Empties the Circular File?’’ Reprinted inDepth of Field:
Essays on Photography, Mass Media, and Lens Culture.
Albuquerque: University of New Mexico Press, 1998.
Green, Jonathan.American Photography: A Critical History
1945 to the Present.New York: Harry N. Abrams, 1984.
Hugunin, James. ‘‘Out on the Street Anything Can Hap-
pen.’’Afterimage9, no. 9 (April 1982).
Janis, Eugenia Parry. ‘‘Winogrand: Excesses of a Modern
Mannerist.’’History of Photography13, no. 3 (July-Sep-
tember 1989).
Johnson, Brooks.Photography Speaks: 66 Photographers on
Their Art.Norfolk,VA: The Chrysler Museum, 1989.
Kotz, Liz. ‘‘Damaged.’’ InThe Social Scene: The Ralph M.
Parsons Foundation Photography Collection at The
Museum of Contemporary Art, Los Angeles.Max Kozl-
off, et al. Los Angeles: The Museum of Contemporary
Art, Los Angeles, 2000.
Kozloff, Max, et al.The Social Scene: The Ralph M. Par-
sons Foundation Photography Collection at The Museum
of Contemporary Art, Los Angeles. Los Angeles: The
Museum of Contemporary Art, Los Angeles, 2000.
Loke, Margarett. ‘‘Facts Within Frames: Garry Wino-
grand’s Last Work.’’The New York Times Magazine
(March 13, 1988).
Miller, Denise, et al.Photography’s Multiple Roles: Art,
Document, Market, Science.Chicago: The Museum of
Contemporary Photography, Columbia College, 1998.
Papageorge, Tod. InPublic Relations.Garry Winogrand.
New York: MoMA, 1977.
Roegiers, Patrick. ‘‘Winogrand, Friedlander: la photogra-
phie americaine a la croisee des chemins (Winogrand,
Friedlander: American photography at the parting of the
ways).’’Art Pressno. 164 (December 1991).
Sweetman, Alex. ‘‘Garry Winogrand.’’The Archive 26
(1990): 11.
Szarkowski, John. InWinogrand: Figments from the Real
World.New York: MoMA, 1988.
Turner, Peter, ed.American Images: Photography 1945–
1980. London: Barbican Art Gallery, 1985.
Westerbeck, Colin, with Joel Meyerowitz.Bystander: A
History of Street Photography.Boston: Little, Brown &
Company, 1994.STANISLAW IGNACY WITKIEWICZ
(WITKACY)
Polish
Stanisław Ignacy Witkiewicz (Witkacy) is now
accepted as a unique photographer and one of the
most fascinating artists of the avant-garde moder-
nist period. Utilizing every medium available, the
multitalented Witkacy (a self-created nickname
combining parts of his middle and last names) was
also a painter, dramatist, novelist, philosopher, his-
toriographer, as well as art and cultural critic. Now
amongst the Polish cultural elite, Witkacy’s fame
was very slow in coming. Only posthumously did
he receive due recognition. Today, his works are
well known throughout Poland and the world.
Hardly a year goes by without the performance of
one his plays or an exhibition of his paintings or
photographs. His novelInsatiability, first available
in English in 1953, is now considered a masterpiece
of world literature. In 2000, a combined exhibition
Malinowski-Witkacy Photography: Between Science
and Arttoured the national galleries of Poland and
later Europe.
The son of the eminent art critic, painter, and
architect, Stanislaw Witkiewicz, Witkacy was born
February 14, 1885 in Warsaw and raised in Zako-
pane, the cultural capital of the Polish territory.
After completing his high school examinations, he
studied painting at the Academy of Fine Arts on
and off from 1904–1910 in the bohemian city of
Cracow under the direction of painter Jozef
Mehoffer. More than the cultural life of Zakopane
and the artistic development at the Academy of
Fine Arts, the most seminal influences on the
young artist came in his journeys to other cultures,
where he witnessed new trends in the arts, science,
and technology. Between 1904 and 1914, Witkacy
traveled to Russia, France, Germany, and Italy,
always taking time to visit the art galleries. On
these trips, he discovered the various experiments
in modern art in the works of Paul Gauguin,
Arnold Bocklin, Henri Matisse, and the Fauves
that were rejecting the representational move-
ments, such as naturalism and impressionism, in
favor of non-representational styles.WITKIEWICZ (WITKACY), STANISLAW IGNACY