William Eggleston

William Eggleston, Untitled (Mayfield, Kentucky) - Signed Light Box, Photography

2002

William Eggleston (b. 1939 - ) is an American photographer. He is widely credited with increasing recognition for color photography as a legitimate artistic medium to display in art galleries. Eggleston was born in Memphis, Tennessee and raised in Sumner, Mississippi. Early photographic efforts were inspired by the work of Swiss-born photographer Robert Frank, and by French photographer Henri Cartier-Bresson's book, The Decisive Moment. Eggleston's development as a photographer seems to have taken place in relative isolation from other artists. Dir. of Photography at NY's MoMA John Szarkowski described his first encounter with the young Eggleston in 1969 as being "absolutely out of the blue". After reviewing Eggleston's work (which he recalled as a suitcase full of "drugstore" color prints) Szarkowski prevailed upon the Photography Committee of MoMA to buy one of Eggleston's photographs. Eggleston taught at Harvard in 1973 and 1974, and it was then that he discovered dye-transfer printing; he was examining the price list of a photo lab in Chicago when he read about the process. As Eggleston later recalled: "It advertised 'from the cheapest to the ultimate print.' The ultimate print was a dye-transfer. I went straight up there to look and everything I saw was commercial work like pictures of cigarette packs or perfume bottles but the color saturation and the quality of the ink was overwhelming. I couldn't wait to see what a plain Eggleston picture would look like with the same process. Every photograph I subsequently printed with the process seemed fantastic and each one seemed better than the previous one." The dye-transfer process resulted in some of Eggleston's most striking and famous work, such as his 1973 photograph entitled The Red Ceiling, of which Eggleston said, "The Red Ceiling is so powerful, that in fact I've never seen it reproduced on the page to my satisfaction. When you look at the dye it is like red blood that's wet on the wall.... A little red is usually enough, but to work with an entire red surface was a challenge."