William Eggleston

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9780500974964: William Eggleston
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Born in 1939 in Memphis, Tennessee, where he currently resides, William Eggleston is considered one of America's most important photographers. His 1976 exhibition, Photographs by William Eggleston, at the Museum of Modern Art in New York, marked a turning point in the history of photography: this was when color photography gained recognition as a medium of artistic expression. His intense and dramatic use of color and "democratic" approach to mundane subject matter continue to have an enormous impact on contemporary photographic practice. Published to accompany a French exhibition, this book brings together Eggleston's most significant works, from his first experiments in black-and-white to a series of photographs of Kyoto produced specifically for the exhibit. Drawing on public and private collections in Europe and the United States, the book includes vintage prints executed in the technique most characteristic of his work, the dye transfer process, as well as many lesser-known and previously unseen photographs. From Mississippi to Berlin, Kenya to Asia, Eggleston has tirelessly explored the wider world, transforming, through his camera, the ordinary into the extraordinary. Distributed on behalf of the Fondation Cartier pour l'art contemporain. 160 color photographs.

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About the Author:

Herve Chandes is director of the Fondation Cartier pour l'art contemporain.

From Library Journal:

Assembled by art critic Chandes, this volume was published to accompany a French exhibition of the work of American photographer William Eggleston. The photographs he produces sanctify the mundane while honoring and holding forever the inconsequential moment. This large, word-free collection contains some of his best old (1970s) and new photography. The idea that life, land, cars, small buildings, and clusters of people are assembled in bunches at random, in the accidental reality of a time and place, seen and framed and preserved by a photographer, helps all of us grasp the value of looking and trying to understand the world's visual chaos. When Eggleston photographs a '65 Buick that inexplicably ran up a concrete drainage wall only to be partially crushed and wedged under a highway overpass, we think, "That's amazing." But his expanded photo of the wreck through a wide-angle lens shows nearby bell-bottomed onlookers placed in no order with no apparent purpose but detached from the wreck by the onset of the immediate boredom common to the ordinary moment. Eggleston is the master of the moment. The only complaint here is that every one of the 146 photographs reproduced is titled Untitled. We need to know the words the photographer attaches to some of these preserved situations. Recommended.
David Bryant, New Canaan Lib., CT
Copyright 2002 Reed Business Information, Inc.

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