Hailing from Memphis, Tennessee and raised in Sumner, Mississippi, American photographer William Eggleston is a poet of the American South. His vivid images of daily life helped establish colour photography as a medium of fine art during the ’70s. Galleri
Throughout the ’70s, photographer William Eggleston captured the rural towns of the American South, where he took colour, concept and composition to new heights.
William Eggleston first tried peyote one summer in the early 1960s while visiting a friend in Oxford, Mississippi. You can find the story in a memoir by University of Mississippi football star (and later Dark Shadows actor) Jimmy Hall, who was there at the time. Eggleston had invited Hall to join him and his friend, and the three men puzzled over the green-blue cactus in its cardboard box, purchased via mail-order from a nursery in Laredo, Texas.
The portraiture of William Eggleston, whose color photography helped shepherd the medium into the art world, is the exclusive feature of a new exhibit and book.
Most portrait artists attempt to differentiate the emotional essence of each individual subject. But William Eggleston, a father of color photography whose 1976 Museum of Modern Art exhibit arranged by John Szarkowski helped shepherd the medium into the art world — much to the chagrin of critics — insists that he photographs a person the same way he photographs a parking lot. A new exhibition of his portraiture at the National Portrait Gallery in London, however, belies that assertion by displaying more than 100 highly personal images.
For anyone interested in understanding the history and acceptance of photography as an art form, the work of William Egglestonis a pre-requisite...
For anyone interested in understanding the history and acceptance of photography as an art form, the work of William Egglestonis a pre-requisite at some point. This Imagine Series did a an insightful documentary on the photographer years ago and it’s worth some time out of your day.
Reclusive photographer William Eggleston has deigned to take a few written questions from photographers, curators, and fans, and the questions, along with his responses, were published yesterday in British newspaper The Independent. Among those who posed
Eggleston’s terse, deadpan responses reveal so little beyond his disinterest in the exchange that readers might be left wondering: Why did he bother? One possibility is that he needs to come out periodically and remind everyone that he doesn’t talk about his work, so stay the heck away
Here is the crux of the issue: Mr. Eggleston earns more money by the designation of the limited edition. The individual who buys the art has to pay more. So the artist directly benefits from that. It is the artist's choice, and you can't change the rules in the middle of the game
The Shooting Gallery, a tumblr featuring videos about photographers. The videos are divided into two categories: photographers talking and photographers shooting. There are 14 pages of archives to the blog, in which you’ll find videos about the likes of Richard Prince, Donald Weber, Henri Cartier-Bresson, Jeff Mermelstein, Stephen Shore, Terry Richardson, Juergen Teller, Cindy Sherman, Ryan McGinley, William Eggleston (including this ridiculous interview on the Today Show), and many others.
The Democratic Forest, a most remarkable and beautiful book, is what is even rarer, and original one. Consisting entirely of the eloquent photographs of the American photographer William Eggleston, it begins as an autobiography might, with a setting for a life.
Exhibition review: William Eggleston
Eggleston’s Paris is a messy, often makeshift place – who else would be drawn to the milky water in a cement mixer? – which could indeed be any early 21st-century city. Graffiti is a recurring motif – on walls, vehicles, windows, billboards.