{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O130960"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O130960/"}},"images":null,"see_also":null},"record":{"systemNumber":"O130960","accessionNumber":"PH.140-1987","objectType":"Photograph","titles":[{"title":"Central Park Zoo, New York City, New York, 1962","type":"generic title"}],"summaryDescription":"Winogrand was at the forefront of street photography in America. To capture the dizzying energy of the New York streets, he often used a wide-angle lens and raking camera angles. He described his work as finding unanticipated perspectives through experiment, intuition and luck. This image is part of a large series of work photographed in zoos. Taken throughout the 1960s these images observe human as well as animal behaviour. Here we see Winogrand's humour at play. At first glance we are presented with a cage for a European Brown Bear, with its grid of railings. Looking closer, we see the strength and menace of the captive animal.","physicalDescription":"Black and white photograph showing a cage with a sign reading 'European Brown Bear...', the lower jaw of a bear is just visible gripping the bottom of the sign.","artistMakerPerson":[{"name":{"text":"Winogrand, Garry","id":"A11965"},"association":{"text":"photographers","id":"AAT25687"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"photographic paper","id":"AAT14190"}],"techniques":[{"text":"gelatin silver process","id":"AAT139114"}],"materialsAndTechniques":"Gelatin silver print","categories":[{"text":"Photographs","id":"THES48910"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":[],"imageResolution":"low","galleryLocations":[{"current":{"text":"LVLF","id":"THES49656"},"free":"","case":"X","shelf":"1017","box":"A"}],"partTypes":[[{"text":"photograph","id":"AAT46300"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"New York (City)","id":"x29030"},"association":{"text":"photographed","id":"x30151"},"note":""}],"productionDates":[{"date":{"text":"1962","earliest":"1962-01-01","latest":"1962-12-31"},"association":{"text":"photographed","id":"x30151"},"note":""},{"date":{"text":"1964","earliest":"1964-01-01","latest":"1964-12-31"},"association":{"text":"printed and published","id":"x35383"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"219","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"328","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[{"content":"Garry Winogrand A/C","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"print signed and mount inscribed"}],"objectHistory":"","historicalContext":"Garry Winogrand was among a new generation of photographers who became active in the 1950s.  Initially, he had worked in photojournalism. There his work, and that of his contemporaries such as Dan Weiner and Diane Arbus, seemed very casual in comparison with work by established photojournalists.  By the 1960s, partly due to the decline of photo magazines and also to his growing awareness of photographers such as Robert Frank, Winogrand increasingly orchestrated his subject matter into a larger, personal scheme.  This is reflected in the division of much of his work into general themes.  He produced a series of images in the 1960s of zoos in which Winogrand observed human behaviour as well as the animals.  Winogrand gave up commercial photography in 1969.  He had received a Guggenheim Fellowship in 1964 and had enjoyed the freedom of having no commercial pressures.  During the 1970s and early 1980s he took up lecturing posts in American universities.  He was uneasy about teaching not only because he was self-taught, but also since he strongly defended his own work against theoretical interpretations.  He left a vast body of work unfinished at his death in 1984, possibly 300,000 exposures which he had not developed or printed.","briefDescription":"Black and white photograph showing a bear cage, Central Park Zoo, 1962","bibliographicReferences":[],"production":"","productionType":{"text":"Limited edition","id":"THES48862"},"contentDescription":"","contentPlaces":[{"text":"Central Park","id":"x30490"}],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[{"text":"bears","id":"x29380"},{"text":"zoos","id":"AAT348"}],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"Winogrand was at the forefront of street photography in America. To capture the dizzying energy of the New York streets, he often used a wide-angle lens and raking camera angles. He described his work as finding unanticipated perspectives through experiment, intuition and luck. Here we see Winogrand's humour at play. At first glance we are presented with a cage for a European Brown Bear, with its grid of railings. Looking closer, we see the strength and menace of the captive animal.","date":{"text":"01/2007-01/2008","earliest":"2007-01-01","latest":"2008-01-31"}}],"partNumbers":["PH.140-1987"],"accessionNumberNum":"140","accessionNumberPrefix":"PH","accessionYear":1987,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-09","recordCreationDate":"2007-01-20","availableToBook":false}}