If an artist were to admit that he was uncertain as to what part of the content of his work answered to life and what part to art, and was perhaps even uncertain as to precisely where the boundary between them lay, we would probably consider him incompetent. The photographic prints that emerge on the other side eloquently show us what was there, and then some. Szarkowski thinks this is a convenient way for the artist to sidestep specific questions about content and how that may relate to the artist himself. Whatever else a photograph may be about, it is inevitably about photography, the container and the vehicle of all its meanings. That’s a very sophisticated and misleading word. It was the point where color photography gained recognition as a medium of artistic expression.
And it was precisely for these reasons that the show received considerably more attention than would normally have been the case. Changing trends have allowed photography to be considered within the same criteria as more overtly constructed art forms, as the boundaries between media have all but collapsed. William Eggleston had already published his first portfolio of dye-transfer prints in One can sense, behind this exterior of rapidly gained wealth, that nothing was at all well in the King’s realm. Whatever was not, did not.
Outside the studio, where such control has been impossible, color has induced timidity and an avoidance of those varieties of meaning that are not in the narrowest sense aesthetic.
William Eggleston Guide essay – John Szarkowski
Preoccupation with private experience is a hallmark of the romantic artist, whose view is characteristically self-centered, asocial, and, at least in posture, antitraditional. The use of the dye-transfer technique enables William Eggleston to add a psychological component to the atmosphere of his photographs.
Professionals used color when they were paid to, doing their very best, without quite knowing what they meant by that. Wei grew up in Shanghai and came to the US to study art in ; the images in his series Chinese Sentiment were taken during trips home nearly a decade later. The mottled yellow-green of Van Window appears again in the reflection of trees in a small, upward tilting vanity and yellow cloth in Magic Mirror.
Whatever a photographer’s intuitions or intentions, they must be cut and shaped to fit the possibilities of his art. Even the most servile of photographers has not yet managed to duplicate exactly an earlier work by a great and revered master.
William Eggleston’s guide / essay by John Szarkowski – Details – Trove
Through the Plain Camera: More recently, however, Eggleston has mainly been using a standard lens in conjunction with the relatively low-cost production of normal prints from color negatives, so-called C-prints. Not too brave or visionary in my view even if there was lot of hostility around the photographic art world at the time.
And it was precisely for these reasons that the show received considerably more attention than would normally have been the case. Paul Valery once wrote: His dye-transfer prints seem to have literally soaked up the synthetic colors of their subject matter.
Such photographs can be recognized by their resemblance to reproductions of Synthetic Cubist or Abstract Expressionist paintings. If an artist were to admit that he was uncertain as to what part of the content of his work answered to life and what part to art, and was perhaps even uncertain as to precisely where the boundary between them lay, we would probably consider him incompetent.
When asked if photographs could be documentary as well as works of art, Evans replied ‘Documentary?
Instead, he discovers his subject within the possibilities proposed szarkowsji his medium. To make matters worse, some of the pictures are likely to be marginally interesting.
William Eggleston Guide essay – John Szarkowski – Martyn Rainbird
Barr’s comment however is valuable, and suggests in concrete terms a quality central to Eggleston’s work: In The Democratic ForestEggleston sets out in search of his own personal past within the context of a longer history. Artists themselves tend to take absolutist and willim positions when addressing themselves to questions of content, pretending with Degas that the work has nothing to do with ballet dancers, or pretending with James Agee that williwm has nothing eesay do with artifice.
The nominal subject matter of these pictures is often the walls of old buildings, or the prows of sailboats reflected in rippled water.
Today, in the wake of Postmodernism, photographers who select from the world confront the same kinds of biases their predecessors did in the face of painting. Eggleston depicts the house, which is now a museum, as the mausoleum of a man of extremely bizarre taste.
Foliage, branches and trees, the symbols of nature, and telegraph poles and cars, the symbols of transport and communication, denote the increasing globalization of society and our environment. The quality of the book’s images improves the more often we look at them–in much the same way as a piece of music cannot be fully appreciated until it has been listened to several times.
The photographer uses his visits to, and his photographing of, these truly historical sites as an opportunity to provide egglwston with images which, contrary to our expectations, enable us to relate emotionally to these places and to understand the meanings that dwell within them. Spare framing accentuates the curiosity of this moment, and a low vantage point raises a sense of childlike awe. The psychology of perception which underlies Cavell’s statement, namely his observation that the view can gain emotional access to a photograph through the color, is corroborated by szarokwski fact that many of Eggleston’s photographs which are over thirty years old still look contemporary, they still seem to belong to the present day.
With just a few exceptions, the depicted scenes are deserted.
It was the first monograph of his photographs since William Eggleston’s Guide in Most color photography, in short, has been either formless or pretty. A couple of years later, Eggleston showed his color photographs to the influential director of the Department of Photography at egglestonn Museum of Modern Art in New York.
I once heard William Eggleston say that the nominal subjects of his pictures were no more than a pretext for the making of color photographs – the Degas position.