William Eggleston's Guide

EGGLESTON, William (b. 1939) and John SZARKOWSKI (1925-2007)

ISBN 10: 087070317X / ISBN 13: 9780870703171

Edité par MIT Press for the Museum of Modern Art, New York, 1976

A propos de cet article

4to. 110 pp. 48 color photographs and one black-and-white portrait of Eggleston. Original black bonded leather with gilt-stamped spine and cover onlay. A fine copy. FIRST EDITION (no date on the title-page; copyright page dated only 1976). Issued as the companion to Eggleston s seminal 1976 exhibition at MoMA, a landmark in the history of photography. "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. I did not believe him, although I can believe that it might be an advantage to think so, or to pretend to think so. To me it seems that the pictures reproduced here are about the photographer s home, about his place, in both important meanings of that word. One might say about his identity" (John Szarkowski, pp. 5-6). "As pictures . these seem to me perfect: irreducible surrogates for the experience they pretend to record, visual analogues for the quality of one life, collectively a paradigm of a private view, a view one would have thought ineffable, described here with clarity, fulness, and elegance" (ibid., p. 14). Auer 598; Open Book 308-309; Parr and Badger I:265; Roth 238-239.

N° de réf. du vendeur 403899

Détails bibliographiques

• Titre: William Eggleston's Guide
• Éditeur: MIT Press for the Museum of Modern Art, New York
• Date de parution: 1976
• Langue: anglais
• ISBN à 10 chiffres: 087070317X
• ISBN à 13 chiffres: 9780870703171
• Reliure: Couverture rigide
• Édition: Edition originale
• Catalogues du vendeur:
  • Photography
  • 35% off

A propos de ce titre

Synopsis

The first art photographer to be rewarded with a show at MoMA and the endorsement of modern photography's very own Clement Greenberg, John Szarkowski, Eggleston became an enigmatic central figure in a new school of the everyday. There is however no denying the independent richness of his vision, its openness to a populist visual language, his strong sense of place, and a freshness of approach that is in part a product of never taking more than one shot of the same subject in a sitting.