Le travail de William Eggleston fut présenté lors d'une exposition au MoMA en 1976, accompagnée par la sortie de l'ouvrage William Eggleston's Guide. Cette exposition est considérée comme un tournant dans l'histoire de la photographie marquant « l'acceptation de la photographie couleur par la plus grande institution de validation » (selon les mots de Mark Holborn). Ce catalogue d'exposition qui fit date est aujourd'hui réimprimé.
A handsome overview of Eggleston's evolution and legacy, from the early black-and-white work to his pioneering adventures in color.
Although the first universal color slide film came onto the market in 1935, it was reserved for the world of advertising, and as late as the 1980s it was still considered commercial, vulgar and unartistic. Despite this, from the 1960s onward, more and more photographers began to discover the creative possibilities of the medium. William Eggleston, whose career has spanned over five decades, not only substantially contributed to this paradigm shift; he also noticeably influenced many subsequent generations. Along with Saul Leiter, Evelyn Hofer and Stephen Shore, Eggleston was one of the first photographers to recognize the distinctive power of color and its unique capacity to create pictures that continuously challenge the everyday. He imbued banality with the uncanny and mysterious, investigating his immediate surroundings again and again?as if he were somehow suspicious of the contents of his freezer, the ketchup bottle on the diner counter, not to mention the guns that appear as if by chance in so many of his pictures. Mystery of the Ordinary captures the full scope of Eggleston's evolution and legacy: from the early black-and-white work of the late 1950s, in which we witness his discovery and exploration of themes and unconventional croppings, to some of his most iconic color images.
Born in Memphis in 1939, William Eggleston obtained his first camera in 1957. His exhibition Photographs by William Eggleston at the Museum of Modern Art in New York in 1976 was a milestone; in 2008 a retrospective of his work was held at the Whitney Museum of American Art in New York and at Haus der Kunst in Munich in 2009. Eggleston's books published by Steidl include Chromes (2011), Los Alamos Revisited (2012), The Democratic Forest (2015), Election Eve (2017), Morals of Vision (2019), Flowers (2019), Polaroid SX-70 (2019) and The Outlands (2021).
"Chromes effortlessly traces the themes and subject matter which became Eggleston's signature.... Ultimately, it points to the way his eye saw images in a broader scale, which led to his unrivalled knack at creating a balanced composition out of seemingly random unconnected objects." -Wallpaper.
William Eggleston's standing as one of the masters of color photography is widely acknowledged. But the gradual steps by which he transformed from an unknown into a leading artist are less well known. Steidl has undertaken to trace these steps in an ambitious series of publications. Before Color (2010) explored Eggleston's revelatory early black-and-white images, while Chromes is an edit of more than 5,000 Kodachromes and Ektachromes taken from 10 chronologically ordered binders found in a safe in the Eggleston Artistc Trust. This archive had once been used by John Szarkowski, who selected the 48 images printed in Eggleston's seminal book William Eggleston's Guide, while the rest of the archive has remained almost entirely unpublished. Featuring a newly designed slipcase, this three-volume publication presents Eggleston's early Memphis imagery, his testing of color and compositional strategies, and the development toward the "poetic snapshot." In short, Chromes shows a master in the making.
Born in Memphis in 1939, William Eggleston obtained his first camera in 1957 and was later profoundly influenced by Henri Cartier-Bresson's The Decisive Moment. His exhibition Photographs by William Eggleston at the Museum of Modern Art in New York in 1976 was a milestone; in 2008 a retrospective of his work was held at the Whitney Museum of American Art in New York and at Haus der Kunst in Munich in 2009. Eggleston's books include Los Alamos Revisited (2012), The Democratic Forest (2015), Election Eve (2017), Morals of Vision (2019), Flowers (2019), Polaroid SX-70 (2019) and The Outlands (2021).
This fascinating monograph reproduces, for the first time, photographs William Eggleston made with a 2-1/4 camera early in his career while his well-known style was evolving. There is an obvious brilliance at work in these youthful images, revealing both moments of discovery and roads not taken.
A luxurious three-volume box set of previously unseen images from the 1960s and 1970s by the father of American color photography The three volumes of The Outlands are drawn from photographs that William Eggleston (born 1939) made on color transparency film from 1969 to 1974, which formed the basis for John Szarkowski's seminal exhibition of Eggleston's work at the Museum of Modern Art in New York in 1976 with the accompanying book William Eggleston's Guide. However, with the exception of a couple of alternate versions, none of the photographs in The Outlands have been published previously.
The result is revelatory. Starting at almost the exact point on the same street in suburban Memphis where Eggleston made his famous photograph of a tricycle, the work follows a route through the back roads to old Mississippi where he was raised. What is disclosed is a sublime use of pure color hovering in semi-detachment from the forms he records. At the time, Eggleston was photographing a world that was already vanishing. Today, this final installment of his color work offers a view of a great American artist discovering the range of his visual language and an unforgettable document of the Deep South in transition.
La série Election Eve a été réalisée en octobre 76, alors que le photographe se déplace de Memphis à la petite ville de Plains en Géorgie, fief de Jimmy Carter qui est élu président des Etats-Unis en novembre de la même année. A l'époque, Eggleston rassemble ces 100 photos dans deux volumes toilés, qu'il édite à seulement 5 exemplaires. Steidl reproduit ici cette séquence de photos à l'identique, dans un seul volume en demi-toile.
Ce livre est un fac-similé d'un album des Polaroids d'Eggleston assemblé par le photographe lui-même et contenant les seules photos prises avec ce support. Composé de 56 images réalisées avec le Polaroid SX-70 (l'appareil désormais culte produit entre 1972 et 1981) et monté à la main dans un album en cuir noir également produit par la société, Polaroid SX-70 est la première publication des Polaroids d'Eggleston.
Democratic Forest est un projet mené par Eggleston à travers l'Europe et les Etats-Unis dans les années 1980. D'abord en Louisiane puis de Memphis à Dallas, Pittsburgh, Miami, Boston, les prairies du Kentucky et jusqu'au mur de Berlin, cet ensemble comprend plus de 12 000 photographies. Cette édition en un coffret de 10 volumes présente plusieurs centaines de ces images, chaque volume correspondant à une station de ce périple photographique. Le titre Democratic Forest fait référence à la volonté d'Eggleston de traiter tous les sujets, nobles ou communs, avec la même attention.
L'américain william eggleston, l'un des plus grands photographes du monde, a été invité par la ville de dunkerque pour en dresser le portrait photographique.
Mais, plus qu'un portrait, cette série devient une fresque. william eggleston, spirit of dunkerque, la dernière série exécutée par l'artiste, est donc une oeuvre d'art en soi. les cinquante photographies du présent ouvrage composent une suite harmonieuse et une traversée en contrepoint de la ville du nord.
Réédition d'un ouvrage de 15 images du ciel, d'abord autopublié par le photographe en avril 1979. Une série qui constitue un intermède calme et expérimental parmi les célèbres photos d'Eggleston aux couleurs si marquées.
Dans un très beau coffret en trois volumes, l'éditeur Steidl réédite la série de photos de William Eggleston, Los Alamos, enrichie de 300 images jamais publiées. Cette épopée visuelle de l'Amérique rurale, réalisée entre 1966 et 1974, reste l'un des corpus les plus emblématiques de l'oeuvre du photographe américain. La saturation si particulière des couleurs dans les clichés d'Eggleston est servie par une magnifique impression.
Voyage photographique au coeur des paysages caractéristiques de l'Amérique quotidienne, au fil du temps, de la fin des années 1950 à nos jours, du noir et blanc à la couleur. Ce recueil montre l'évolution et les ruptures dans l'oeuvre de W. Eggleston.
Noir et blanc explore les débuts artistiques de William Eggleston. L'ouvrage est une édition mise à jour de Avant la couleur (Steidl, 2012) avec plus de soixante-quinze nouvelles images.
À la fin des années 1950, Eggleston commence à photographier sa ville natale, Memphis, et découvre plusieurs sujets qui deviendront récurrents dans son oeuvre, en couleur par la suite : fast-foods, voitures, stations-service, supermarchés, sans oublier les intérieurs domestiques et la banalité de l'Amérique profonde. Au milieu des années 1960, Eggleston commence à travailler avec la couleur. Il expérimente différents paramètres d'exposition de la pellicule, et obtient très rapidement des résultats satisfaisant : « Et mon Dieu, tout a fonctionné. Juste du jour au lendemain ! » Il abandonne par la suite la photographie en noir et blanc, mais sa vision du quotidien de l'Amérique reste inchangée... Elle sera en couleur !
While William Eggleston (born 1939) needs little introduction as a master of color photography, few are aware of his fine ability as a pianist. Musik (Vinyl), consisting of two vinyl LPs, is only the second, and the most elaborate, publication of his musical recordings to date.
Performed in the 1980s on his Korg OW/1 FD Pro keyboard synthesizer and stored on floppy disks since, revealed here are pieces by Eggleston's favorite composers across genres--from Beethoven and Chopin to Gilbert and Sullivan, from jazz to reggae--as well as improvisations of considerable brio. Accompanied by a booklet of photos showing Eggleston while playing, Musik (Vinyl) reveals hitherto unknown facets of his creativity, and is part of Steidl's plan to publish Eggleston's complete works: his books, music and a future release of his 1974 video Stranded in Canton.
The Outlands, a series of photographs taken by Eggleston between 1969 and 1974, establishes the groundbreaking visual themes and lexicon that the artist would continue to develop for decades to come. The work offers a journey through the mythic and evolving American South, seen through the artist's lens: vibrant colors and a profound sense of nostalgia echo throughout Eggleston's breathtaking oeuvre. His motifs of signage, cars, and roadside scenes create an iconography of American vistas that inspired a generation of photographers. With its in-depth selection of unforgettable images - a wood-paneled station wagon, doors flung open, parked in an expansive rural setting; the artist's grandmother in the moody interior of their family's Sumner, Mississippi home - The Outlands is emblematic of Eggleston's dynamic, experimental practice. The breadth of work reenergizes his iconic landscapes and forms a new perspective of the American South in transition.
Accompanying the ninety brilliant Kodachrome images and details, a literary, fictional text by the critically acclaimed author Rachel Kushner imagines a story of hitchhikers trekking through the Deep South. New scholarship by Robert Slifkin reframes the art-historical significance of Eggleston's oeuvre, proposing affinities with work by Marcel Duchamp, Dan Graham, Jasper Johns, and Robert Smithson. A foreword by William Eggleston III offers important insights into the process of selecting and sequencing this series of images.
La National Portrait Gallery consacre une grande rétrospective aux portraits de William Eggleston (21/07/2016-23/10/2016). Avec une centaine de photos des années 1960 à aujourd?hui, de célèbres images couleur mais aussi plusieurs tirages vintage inédits en noir & blanc, ce catalogue couvre toute la carrière d?un monument de la photo.
