February 14–May 18, 2018
William Eggleston: Los Alamos at The Metropolitan Museum of Art featured a landmark gift to the museum by Jade Lau of the artist's notable portfolio, Los Alamos. The selection comprises 75 dye transfer prints from color negatives taken on trips through the American South between between 1965 and 1974.
This portfolio of works, which had never been shown in its entirety in New York, includes Eggleston's first color photograph; Untitled, Memphis, 1965 shows a young clerk pushing a train of shopping carts at a supermarket in Memphis, Tennessee.
Released in Fall 2017, Musik is William Eggleston’s debut album. Drawn from synthesizer recordings the artist has been making since the 1980s which have been newly digitized, the album’s thirteen tracks include improvised symphonic pieces and two covers.
Best known for his influential photography, Eggleston began playing the piano as a child in Sumner, Mississippi, long before he started taking photographs. As he explained to Rachel Felder in The New York Times, "People know my photographs because they’re published in books and shown in galleries and museums and so forth, and yet I don’t perform music in public, ever—only in front of good friends who really want to hear it and who really listen."
The compositions in Musik have been brought to light from a collection of recordings stored on more than sixty digital audiotapes, digital compact cassettes, and floppy disks by the producer Tom Lunt, who first learned about the artist’s music from the 2005 documentary William Eggleston in the Real World. Describing the music in The Observer, Sean O’Hagan writes, "The great washes of synthetic sound, sometimes seductively symphonic, sometimes ominous, certainly add a new resonance to the photographer’s most famous quotation about being ‘at war with the obvious.’"
"I think there’s absolutely a link between music in general and what I do in photography," Eggleston told The New York Times; "I don’t know what it really is, but it’s there."
William Eggleston has been added to The International Photography Hall of Fame in recognition of his pioneering work in color photography. The Hall of Fame is reserved for "photographers or photography industry visionaries who demonstrate the artistry, passion, and revolution of the past and present craft of photography."
An exhibition of works by the 2017 inductees to the Hall of Fame was on view through February 10, 2018.
Founded in 1965, The International Photography Hall of Fame and Museum in St. Louis is dedicated to notable contributors to the field of photography and to preserving historic photographs and cameras.
April 20–September 24
Works by William Eggleston were featured in Autophoto, a major group exhibition at the Fondation Cartier in Paris.
American car culture has often featured in his work, from shiny hoods and leather interiors to car washes and highways in what have become iconic images. His works in Autophoto were created between 1965 and 1974, just prior to the 1976 solo exhibition Color Photographs by William Eggleston at The Museum of Modern Art in New York—the first major presentation of color photography at the museum.
Dedicated to photography's relationship to the automobile, Autophoto presented 500 works by 100 historic and contemporary artists—Juergen Teller, Lee Friedlander, Walker Evans, Catherine Opie, Andreas Gursky, Eve Arnold, Mary Ellen Mark—and was accompanied by a publication containing over 700 reproductions, critical essays, and artists' quotes.
FOAM Museum in Amsterdam presented Los Alamos (March 17–June 7), an exhibition of 75 photographs from the portfolio Eggleston compiled on trips through the American South between 1966 and 1974.
William Eggleston: Portraits (March 17–June 18) at the National Gallery of Victoria in Melbourne followed its critically-acclaimed debut at the National Portrait Gallery in London, for which the museum produced an accompanying publication. The exhibition included 100 works from the 1960s to the present, making it the most comprehensive display to date of Eggleston's portrait photography. An in-depth profile of the artist was recently published in the Australian newspaper The Age.
William Eggleston: Portraits included 100 works from the 1960s to the present. The exhibition was the most comprehensive display of Eggleston's portrait photography ever. Following its debut at the National Portrait Gallery in London, the show traveled to the National Gallery of Victoria, Australia in March 2017.
The London gallery hosted a book signing with William Eggleston to celebrate the exhibition and the publication of its accompanying catalogue by the museum. The book features a text and interview with the artist by Phillip Prodger and an appreciation by Sofia Coppola.
Watch Phillip Prodger, Curator and Head of Photographs at the National Portrait Gallery, lead a tour of the show.
(New York & London) David Zwirner is pleased to announce the gallery's exclusive worldwide representation of William Eggleston.
Over the course of nearly six decades, American artist William Eggleston has established a singular pictorial style that deftly combines vernacular subject matter with an innate and sophisticated understanding of color, form, and composition. Eggleston's vividly saturated photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. His 1976 solo exhibition William Eggleston's Guide, curated by John Szarkowski at The Museum of Modern Art, New York—the first presentation of color photography at the museum—heralded an important moment in the medium's acceptance within the art-historical canon and solidified Eggleston's position as one of its foremost practitioners, and throughout his prolific career, he has consistently developed his own uniquely recognizable and influential aesthetic.
As stated by David Zwirner, "We are honored to welcome William Eggleston to the gallery. One of the most important artists of our time, his painterly understanding of color and unmatched eye continue to exert an indisputable influence on visual culture."
In November 2016, the gallery will mount an exhibition of works drawn from Eggleston's project The Democratic Forest at the 537 West 20th Street location in New York. Likened to an epic journey or an ongoing narrative, these images, which were taken on Eggleston's travels during the 1980s, are loosely organized into thematic groupings that collectively expound on the photographer's assertion that no subject matter is more or less important. First published as a monograph featuring an introduction by Eudora Welty in 1989, The Democratic Forest was reissued in 2015 in an expanded 10-volume format by Steidl. This exhibition will present a selection of images from this significant body of work, many of which have never before been exhibited, and will be accompanied by a catalogue.
William Eggleston was born in 1939 in Memphis, Tennessee, where he continues to live today. Raised in Sumner, Mississippi, he attended Vanderbilt University, Nashville, Tennessee; Delta State College, Cleveland, Mississippi; and University of Mississippi, Oxford.
Since the 1970s, Eggleston's work has been the subject of solo exhibitions at prominent institutions worldwide, beginning with his above-mentioned 1976 show at The Museum of Modern Art, New York (traveled to Seattle Art Museum; Santa Barbara Museum of Art; Fredrick Wright Art Galleries, University of California at Los Angeles; Reed College, Portland, Oregon; and University of Maryland Art Gallery, College Park). Subsequent important solo presentations were held at the Corcoran Gallery of Art, Washington, D.C. in 1990; the Barbican Gallery, London in 1992 (traveled to Louisiana Museum, Humlebæk, Denmark; Folkwang Museum, Essen; and Fotomuseum Winterthur); documenta IX, Kassel, Germany in 2002; Museum Ludwig, Cologne in 2003 (traveled to Museu Serralves, Porto; Nasjonalmuseet – Museet for samstidkunst, Oslo; Louisiana Museum of Modern Art, Humlebæk, Denmark; San Francisco Museum of Modern Art; Albertina, Vienna; and Dallas Museum of Art). In 2008, a major career-spanning survey, William Eggleston: Democratic Camera, Photographs and Videos 1961-2008 was organized by the Whitney Museum of American Art in New York and Haus der Kunst in Munich; it subsequently traveled to the Corcoran Gallery of Art, Washington, D.C.; the Art Institute of Chicago; and the Los Angeles County Museum of Art.
More recent exhibitions have included those held at The Metropolitan Museum of Art, New York; Tate Modern, London, both 2013; Fondation Cartier pour l’art contemporain, Paris, 2009 (traveled to Hara Museum of Contemporary Art, Tokyo; and Hasselblad Foundation, Gothenburg, Sweden, both 2010). In July 2016, the National Portrait Gallery in London will host a comprehensive survey of Eggleston's portraits.
Eggleston received a National Endowment for the Arts Fellowship in 1975 and has been the recipient of numerous notable awards, including the University of Memphis Distinguished Achievement Award (1996); Hasselblad Foundation International Award in Photography (1998); International Center of Photography Infinity Award for Lifetime Achievement (2004); the Getty Images Lifetime Achievement Award (2004); and the Chevalier de l’Ordre des Arts et des Lettres, Ministère de la Culture et de la Communication, République Française (Order of Arts and Letters of the French Republic) (2016), among others. The Aperture Foundation will honor Eggleston in October 2016. Work by the artist is held in major international museum collections.
Founded in 1992, the Eggleston Artistic Trust is dedicated to the representation and preservation of the work of William Eggleston and is directed by his sons Winston Eggleston and William Eggleston III.
Edition of 2, 2 AP
Untitled, c. 1983-1986
Framed: 64 7/8 × 45 inches (164.8 × 114.3 cm)
Edition of 2, 2 AP
Over the course of nearly six decades, William Eggleston (b. 1939) has established a singular pictorial style that deftly combines vernacular subject matter with an innate and sophisticated understanding of color, form, and composition. His photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. His 1976 solo exhibition at The Museum of Modern Art, New York, curated by John Szarkowski, marked one of the first presentations of color photography at the museum. Although initially criticized for its unfamiliar approach, the show and its accompanying catalogue, William Eggleston's Guide, heralded an important moment in the medium's acceptance within the art-historical canon, and it solidified the artist's position as one of its foremost practitioners to this date. Eggleston's work continues to exert an influence on contemporary visual culture at large.
This photograph belongs to The Democratic Forest, one of Eggleston's most ambitious projects and a prime example of his uniquely recognizable aesthetic. Likened to an epic journey or an enduring narrative, it comprises a careful selection of works from over ten thousand negatives he took in the mid-1980s across the southern and eastern parts of America and in several European countries. These photographs of rural back roads, industrial and residential environs, architectural details, restaurant interiors, and parking lots, among other locales, eluded the conventions of both reportage and the black-and-white art photography practiced by many of the artist's peers at the time, and instead shaped their own definition of what a photographic image could be—intuitive and charged with imaginative possibilities. Collectively, the project echoes Eggleston's belief in the "democratic" vision of the camera, equally able to render the mundane and quotidian as the extraordinary.
Edition 1 of 2, 2 AP. Signed in ink, numbered, and copyright reproduction limitation from Eggleston Artistic Trust on label affixed verso on mount
Edition 15 of 20. Signed in ink lower right recto; numbered and copyright reproduction limitation from Eggleston Artistic Trust stamped verso
Edition 2 of 7. Signed in ink lower right recto; numbered and copyright reproduction limitation from Eggleston Artistic Trust stamped verso
Edition 6 of 10. Signed in pencil, numbered, and copyright reproduction limitation from Eggleston Artistic Trust stamped verso
Edition 7 of 10