Posts Tagged ‘William Eggleston Huntsville Alabama

18
May
10

Exhibition: ‘William Eggleston: Democratic Camera, Photographs and Video, 1961-2008’ at The Art Institute of Chicago

Exhibition dates: 27th February – 23rd May 2010

 

William Eggleston (American, b. 1939) 'Untitled (Memphis, Tennessee)' 1971

 

William Eggleston (American, b. 1939)
Untitled (Memphis, Tennessee)
1971
from 14 Pictures, 1974
Dye transfer print
15 7/8 x 19 15/16 in (40.3 x 50.6 cm)
Collection of Adam Bartos
© Eggleston Artistic Trust, courtesy Cheim & Read, New York

 

 

THE classic William Eggleston, the one and only. Feel the heat of sun on body. Look at the construction of the image plane, all angles and fractures. The slight movement of the woman’s hand as she sits on a cracked yellow wall. The distance between her body and the metal pole with wrapped chain and padlock, that ice/fire tension as Minor White would say. Man with gun vs melancholy monochromatic self portrait, the reverie of the lone thinker. Colour and light as emotional sounding board, “colour as a means of discovery and expression, and as a way to highlight aspects of life hidden in plain sight.” This is what Eggleston points his democratic camera at – life hidden in plain sight, revealed in all its intricacies, in all its mundanity and glory.

Dr Marcus Bunyan

.
Many thankx to Chai Lee and the Art Institute of Chicago for allowing to me reproduce the photographs in this posting. Please click on the photographs for a larger version of the image.

 

William Eggleston (American, b. 1939) 'Untitled' 1970

 

William Eggleston (American, b. 1939)
Untitled
1970
from Los Alamos, 1965-1974 (published 2003)
Dye transfer print
16 x 20 in (40.6 x 50.8 cm)
Whitney Museum of American Art, New York
Purchased with funds from the Photography Committee
© Eggleston Artistic Trust, courtesy Cheim & Read, New York

 

William Eggleston (American, b. 1939) 'Untitled' 1975

 

William Eggleston (American, b. 1939)
Untitled
1975
Dye transfer print
16 x 20 in (40.6 x 50.8 cm)
Cheim & Read, New York
© Eggleston Artistic Trust, courtesy Cheim & Read, New York

 

William Eggleston (American, b. 1939) 'Untitled' c. 1971-73

 

William Eggleston (American, b. 1939)
Untitled
c. 1971-73
from Troubled Waters, 1980
Dye transfer print
15 7/8 x 19 15/16 in (40.3 x 50.6 cm)
Collection Marcia Dunn and Jonathan Sobel
© Eggleston Artistic Trust, courtesy Cheim & Read, New York

 

William Eggleston (American, b. 1939) 'Untitled' Nd

 

William Eggleston (American, b. 1939)
Untitled
Nd
from Los Alamos, 1965-1974 (published 2003)
Dye transfer print
12 x 17 ¾ inches (30.5 x 45.1 cm)
Private collection
© Eggleston Artistic Trust, courtesy of Cheim & Read, New York

 

William Eggleston (American, b. 1939) 'Untitled' Nd

 

William Eggleston (American, b. 1939)
Untitled
Nd
from Los Alamos, 1965-1974 (published 2003)
Dye transfer print
12 x 17 ¾ inches (30.5 x 45.1 cm)
Private collection
© Eggleston Artistic Trust, courtesy of Cheim & Read, New York

 

William Eggleston (American, b. 1939) 'Untitled' Nd

 

William Eggleston (American, b. 1939)
Untitled
Nd
from Los Alamos, 1965-1974 (published 2003)
Dye transfer print
12 x 17 3/4 in (30.5 x 45.1 cm)
Private collection
© Eggleston Artistic Trust, courtesy Cheim & Read, New York

 

 

 

The unconventional beauty and artistry of works by photographer William Eggleston will be showcased in a major exhibition opening at the Art Institute of Chicago this winter. William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 – on view from February 27 through May 23, 2010, in the Modern Wing’s Abbott Galleries (G182, G184) and Carolyn S. and Matthew Bucksbaum Gallery (G188) – is the most comprehensive retrospective to date of the Memphis-based contemporary photographer. The exhibition brings together more than 150 extraordinary images of familiar, everyday subjects with lesser-known, early black-and-white prints and provocative video recordings, all produced over a five-decade period.

Born in 1939 in Memphis, Tennessee, and raised on his family’s cotton plantation in Mississippi, William Eggleston held a casual interest in photography until 1959, when he came across photo books by Henri Cartier-Bresson and Walker Evans. Among his earliest pictures, made during stints at universities in Tennessee and Mississippi, were black-and-white scenes found in his native South, as well as portraits of friends and family members.

By the 1960s and early 1970s he had begun experimenting with colour film, and he eventually produced rich, vivid prints through the dye transfer process – prints that are created through the alignment of three separate matrices (cyan, magenta, and yellow) generated from three separate negatives (red, green, and blue filters). The resulting prints are known for the vividness and permanence of their colours. Hence, Eggleston is often credited for single-handedly ushering in the era of colour art photography.

Eager to show his work to a broader audience, Eggleston traveled to New York with a suitcase of slides and prints to meet with Museum of Modern Art (MoMA) curator John Szarkowski. This visit eventually yielded a controversial but revolutionary exhibition in 1976 – MoMA’s first solo show to feature colour photographs – and a classic accompanying book, William Eggleston’s Guide. At this point in his career, Eggleston had already distinguished himself by treating colour as a means of discovery and expression, and as a way to highlight aspects of life hidden in plain sight.

William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 demonstrates Eggleston’s “democratic” approach to his photographic subjects in both colour and black-and-white. Everything that happens in front of the camera is worthy of becoming a picture for the artist – no matter how seemingly circumstantial or trivial. Eggleston finds his motifs in everyday life, resulting in telling portrayals of American culture. His iconic images such as Elvis’s Graceland, a supermarket clerk corralling grocery carts in the afternoon sunlight, and a freezer stuffed with food proves that the photographer points his “democratic camera” at everything. Eggleston’s quiet, thoughtful pictures have profoundly impacted subsequent generations of photographers, filmmakers, and scholars.

The exhibition also includes Eggleston’s cult video work, Stranded in Canton. In the 1960s, Eggleston used film to document Fred McDowell, a well-known Delta blues musician, but ultimately abandoned the film project. Eggleston later acquired a video camera and began using video to shoot in bars and in people’s homes; sometimes he shot monologues friends delivered for his video camera, most often at night. The result, Stranded in Canton, recently restored and re-edited, is a portrait of a woozy subculture that adds dimension and texture to the world of Eggleston’s colour photographs.

Internationally acclaimed, Eggleston has spent the past four decades photographing around the world, responding intuitively to fleeting configurations of cultural signs and specific expressions of local colour. By not censoring, rarely editing, and always photographing even the seemingly banal, Eggleston convinces us completely of the idea of the democratic camera.

Press release from the Art Institute of Chicago website [Online] Cited 15/05/2010 no longer available online

 

William Eggleston (American, b. 1939) 'Untitled' Nd

 

William Eggleston (American, b. 1939)
Untitled
Nd
from Los Alamos, 1965-1974 (published 2003)
Dye transfer print
17 3/4 x 12 in. (45.1 x 30.5 cm)
Private collection.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York

 

William Eggleston. 'Untitled (Memphis Tennessee)' 1965

 

William Eggleston (American, b. 1939)
Untitled (Memphis Tennessee)
1965
from Los Alamos, 1965-1974 (published 2003)
Dye transfer print
17 ¾ x 12 inches (45.1 x 30.5 cm)
Private collection.
© Eggleston Artistic Trust, courtesy of Cheim & Read, New York

 

William Eggleston (American, b. 1939) 'Memphis' c. 1969-71

 

William Eggleston (American, b. 1939)
Memphis
c. 1969-71
from William Eggleston’s Guide, 1976
Dye transfer print
24 x 20 in (61 x 50.8 cm)
Collection of John Cheim
© Eggleston Artistic Trust, courtesy Cheim & Read, New York

 

William Eggleston (American, b. 1939) 'Morton, Mississippi' c. 1969-70

 

William Eggleston (American, b. 1939)
Morton, Mississippi
c. 1969-70
from William Eggleston’s Guide 1976
Dye transfer print
13 3/8 x 8 11/16 in (34 x 22 cm)
Cheim & Read, New York
© Eggleston Artistic Trust, courtesy Cheim & Read, New York

 

William Eggleston (American, b. 1939) 'Huntsville, Alabama' 1971

 

William Eggleston (American, b. 1939)
Huntsville, Alabama
1971
from William Eggleston’s Guide 1976
Dye transfer print
20 x 15 7/8 in (50.8 x 40.3 cm.)
University of Mississippi Museum and Historic Houses, Oxford
© Eggleston Artistic Trust, courtesy Cheim & Read, New York

 

William Eggleston (American, b. 1939) 'Untitled' Nd

 

William Eggleston (American, b. 1939)
Untitled
Nd
from Los Alamos, 1965-1974 (published 2003)
Dye transfer print
17 ¾ x 12 in (45.1 x 30.5 cm)
Private collection
© Eggleston Artistic Trust, courtesy Cheim & Read, New York

 

William Eggleston (American, b. 1939) 'En Route to New Orleans' 1971-1974

 

William Eggleston (American, b. 1939)
En Route to New Orleans
1971-1974
from Los Alamos, 1965-1974 (published 2003)
Dye transfer print
17 3/4 x 12 in. (45.1 x 30.5 cm)
Private collection
© Eggleston Artistic Trust, courtesy Cheim & Read, New York

 

 

Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
Phone: (312) 443-3600

Opening hours:
Daily 10.30am – 5.00pm and Thursdays until 8.00pm

The Art Institute of Chicago website

LIKE ART BLART ON FACEBOOK

Back to top

04
Jan
09

Exhibition: ‘William Eggleston: Democratic Camera, Photographs and Video, 1961-2008’ at the Whitney Museum of American Art, New York

Exhibition dates: November 7th 2008 – January 25th 2009

 

William Eggleston. 'Untitled' c.1971-73

 

William Eggleston (American, b. 1939)
Untitled
c.1971 – 1973
from Troubled Waters 1980
Dye-transfer print
© Eggleston Artistic Trust

 

William Eggleston (American, b. 1939) 'Untitled' 1973

 

William Eggleston (American, b. 1939)
Untitled
1973
Dye-transfer print
© Eggleston Artistic Trust

 

William Eggleston (America, born July 27, 1939) 'Memphis' c. 1970

 

William Eggleston (America, b. 1939)
Memphis
c. 1970
Dye-transfer print
© Eggleston Artistic Trust

 

 

One of the most influential photographers of the last half-century, William Eggleston has defined the history of colour photography. This exhibition is the artist’s first retrospective in the United States and includes both his colour and black-and-white photographs as well as Stranded in Canton, the artist’s video work from the early 1970s.

William Eggleston’s great achievement in photography can be described in a straightforward way: he captures everyday moments and transforms them into indelible images. William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 presents a comprehensive selection from nearly fifty years of image-making.

Born in 1939 in Sumner, Mississippi, a small town in the Delta region, Eggleston showed an early interest in cameras and audio technology. While studying at various colleges in the South, he purchased his first camera and came across a copy of Henri Cartier-Bresson’s book The Decisive Moment (1952). In the early 1960s, Eggleston married and moved to Memphis, where he has lived ever since. He first worked in black-and-white, but by the end of the decade began photographing primarily in colour. Internationally acclaimed and widely traveled, Eggleston has spent the past four decades photographing all around the world, conveying intuitive responses to fleeting configurations of cultural signs and moods as specific expressions of local colour. Psychologically complex and casually refined, bordering on kitsch and never conventionally beautiful, these photographs speak principally to the expanse of Eggleston’s imagination and have had a pervasive influence on all aspects of visual culture. By not censoring, rarely editing, and always photographing, Eggleston convinces us of the idea of the democratic camera.

This exhibition was organised by the Whitney Museum of American Art, New York, in association with Haus der Kunst, Munich.

Text from the Whitney Museum of American Art website

.
Many thankx to the Whitney Museum of American Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

 

 

William Eggleston video

“This candid interview with photographer William Eggleston was conducted by film director Michael Almereyda on the occasion of the opening of Eggleston’s retrospective William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 at the Whitney Museum of American Art. A key figure in American photography, Eggleston is credited almost single-handedly with ushering in the era of colour photography. Eggleston discusses his shift from black and white to colour photography in this video as, “it never was a conscious thing. I had wanted to see a lot of things in colour because the world is in colour”. Also included in this video are Eggleston’s remarks about his personal relationships with the subjects of many of his photographs.”

 

 

 

Stranded in Canton

In 1973, photographer William Eggleston picked up a Sony PortaPak and took to documenting the soul of Memphis and New Orleans.

“These were the Merry Prankster and “Easy Rider” years, when road trips and craziness were cool, and Mr. Eggleston set out on some hard-drinking picture-taking excursions. He also embarked on repeated shorter expeditions closer to home in the form of epic bar crawls, which resulted in the legendary video “Stranded in Canton.”

Originally existing as countless hours of unedited film and recently pared down by the filmmaker Robert Gordon to a manageable 76 minutes, it was shot in various places in 1973 and 1974. (The new version is in the retrospective.) Mr. Eggleston would show up with friends at favourite bars, turn on his Sony Portapak, push the camera into people’s faces and encourage them to carry on.

And they did. Apart from brief shots of his children and documentary-style filming of musicians, the result is like some extreme form of reality television. Your first thought is: Why do people let themselves be seen like this? Do they know what they look like? You wonder if Mr. Eggleston is deliberately shaping some tragicomic Lower Depths drama or just doing his customary shoot-what’s-there thing, the what’s-there in this case being chemical lunacy. For all the film’s fringy charge there’s something truly creepy and deadly going on, as there is in much of Mr. Eggleston’s art. You might label it Southern Gothic; but whatever it is, it surfaces when a lot of his work is brought together.”

Holland Cotter. “Old South Meets New, in Living Color,” on The New York Times website Nov 6, 2008

 

William Eggleston (America, b. 1939) 'Untitled' c. 1976

 

William Eggleston (America, b. 1939)
Untitled
c. 1976
From Election Eve
© Eggleston Artistic Trust
Courtesy Cheim & Read Gallery

 

William Eggleston (American, born 1939) 'Untitled (Greenwood, Mississippi)' 1980

 

William Eggleston (American, born 1939)
Untitled (Greenwood, Mississippi)
1980
Dye-transfer print
29.6 x 45.5 cm (11 5/8 x 17 15/16 in.)
The Metropolitan Museum of Art
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and Jennifer and Philip Maritz Gift, 2012
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled' Nd from 'Los Alamos' 1965-68 and 1972-74 (published 2003)

 

William Eggleston (American, b. 1939)
Untitled
Nd
From Los Alamos 1965-68 and 1972-74 (published 2003)
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled' Nd

 

William Eggleston (American, b. 1939)
Untitled
Nd
Dye-transfer print
From Los Alamos 1965-68 and 1972-74 (published 2003)
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled' c. 1975 (Marcia Hare in Memphis Tennessee) c. 1975

 

William Eggleston (American, b. 1939)
Untitled (Marcia Hare in Memphis Tennessee)
c. 1975
Dye-transfer print
© Eggleston Artistic Trust

 

William Eggleston (America,born July 27, 1939) 'Huntsville, Alabama' c. 1971

 

William Eggleston (American, b. 1939)
Huntsville, Alabama
1971
Dye-transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled, 1965' (Memphis Tennessee)

 

William Eggleston (American, b. 1939)
Untitled (Memphis Tennessee)
1965
Dye-transfer print
© Eggleston Artistic Trust

 

William Eggleston (American, b. 1939) 'Untitled (Memphis)' c. 1969-71

 

William Eggleston (American, b. 1939)
Untitled (Memphis)
c. 1969-71
Dye-transfer print
© Eggleston Artistic Trust
Courtesy Cheim & Read Gallery

 

William Eggleston (American, b. 1939) 'Untitled' 1983

 

William Eggleston (American, b. 1939)
Untitled
1983
From a series of photographs taken at Graceland
Dye-transfer print
© Eggleston Artistic Trust
Courtesy Whitney Museum of American Art

 

 

Whitney Museum of American Art
99 Gansevoort Street
New York, NY 10014
Phone: (212) 570-3600

Opening hours:
Mondays: 10.30 am – 6 pm
Tuesdays: Closed
Wednesdays, Thursdays and Sundays: 10.30 am – 6 pm
Friday and Saturdays: 10.30 am – 10 pm

Whitney Museum of American Art website

William Eggleston exhibition web page

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

Join 2,564 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

December 2019
M T W T F S S
« Nov    
 1
2345678
9101112131415
16171819202122
23242526272829
3031  

Archives

Categories