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Published by Paul Vincent

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Published by: Paul Vincent on Feb 11, 2014
Copyright:Attribution Non-commercial


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The Museum of Modern rt
 west 53 Street New York N.Y. 10019 Tel. 956-6100 Cable: Modernart
 William Eggleston,
 one of the
 most accomplished photographers now working
 color, will
 be on
 at The
 May 25
through August
 1. The
 been selected
 John Szarkowski, Director
 of the
 who is
 of a
 fully illustrated monograph, William Eggleston's Guide,*
Museum's first publication
 color photography.
 publication have been made possible
 grants from Vivitar Inc.
 and the
 National Endowment
the Arts. Unlike most
 their predecessors, whose color work
 been either formless or
 a new
 young photographers
 to use
a confident spirit
 their work
more than simply descriptive
 central place
 in the de
 of the
 picture's content. These photographers work
 not as if
 color were
separate problem
 to be
self existed
 and the sky
 thing, Szarkowski writes. For Eggleston,
 as for
 in the new
 color photographers, color
 descriptive; these pictures
 are not
 color, any more than they
 shapes, textures, objects, symbols,
 events, but rather photographs
 as it has
 been ordered
 clarified within the structures imposed
 by the
 camera. Eggleston,
 Memphis, Tennessee, finds
 private, even insular subject matter
 in the
 commonplace realities
 that city
 and its
 John Szarkowski.
 color plates. $12.50. Published
 by The
 Modern Art,
 York. Distributed
 to the
 by The
MIT Press, Cambridge, Massachusetts
 London. NO.
Press Preview:
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 40 Page 2
occupied with such personal experience,
 Eggleston 1s essentially a romantic in the
 While his photographs comprise a remarkable and surprising
 commentary on contemporary American life,
 1s more the engagement of a personal vision than
 social document.
 are clearly fixed
 facts of the real world impartially recorded by the camera, but they are something more as
 Relatives and friends, houses in the neighborhood, local streets and country
 strangers, dining rooms and unusual souvenirs are seen by Eggleston's camera in a manner that is restrained, austere, and public, a style net inappropriate for photographs that might be introduced as evidence in court, but their lean, monocular intentness fixes the subject as sharply as if it were recalled from eidetic memory. Reduced to monochrome, Szarkowski writes, Eggleston's designs would be in fact almost static, almost as blandly resolved as the patterns seen in kaleidoscopes, but they are perceived in color, where the wedge of purple necktie, or the red disk of the stoplight against the sky, has a different compositional torque than its equivalent panchromatic gray, as well as a different meaning. For Eggleston, who was perhaps never fully committed to photography in black and white, the lesson would be more easily and naturally learned, enabling him to make these pictures: real photographs, bits lifted from the visceral world with such tact and cunning that they seem
seen in color from corner to corner. Eggleston has made his pictures a deeply felt expression of self, of his vision and intentions. In Szarkowski's estimation, these photographs are perfect: 'irreducible surrogates for the experience they pretend to record, visual analogues for the quality of one
 collectively a paradigm of a private view, a view one would have thought ineffable, described here with clarity, fullness, and elegance. William Eggleston was born in 1939 in Memphis, Tennessee, near his family's cotton farm in Tallahatchie County, Mississippi. His interest in photography began while he was attending Vanderbilt University and
 pursued desultorily until about 1962, when he discovered the work of Cartier-Bresson. Since the late sixties most of his work (more)

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