William Eggleston: The Democratic Forest, by Eudora Welty
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William Eggleston: The Democratic Forest, by Eudora Welty
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Following the publication of Chromes in 2011 and Los Alamos Revisited in 2012, Steidl's reassessment of Eggleston's career continues with the publication of The Democratic Forest, his most ambitious project. This ten-volume set containing more than 1,000 photographs is drawn from a body of 12,000 pictures made by Eggleston in the 1980s. Following an opening volume of work in Louisiana, the ensuing volumes cover Eggleston's travels from his familiar ground in Memphis and Tennessee out to Dallas, Pittsburgh, Miami and Boston, the pastures of Kentucky and as far as the Berlin Wall. The final volume leads the viewer back to the South of small towns, cotton fields, the Civil War battlefield of Shiloh and the home of Andrew Jackson in Tennessee. The "democratic" in Eggleston's title refers to a democracy of vision, through which the most mundane subjects are represented with the same complexity and significance as the most elevated. This work has rarely been shown and only a fraction of the entire oeuvre has ever been published; the exhaustive editing process has taken over three years. This gorgeous set includes a new introduction by Mark Holborn and the republication of Eudora Welty's original essay on the work.William Eggleston was born in 1937 in Memphis, Tennessee. He took his first black-and-white photographs at age 18. His first color work was shot in 1964 in color negative film, but in the late 60s he began to use color slides. Eggleston was the subject of a landmark solo exhibition at The Museum of Modern Art, New York, in 1976.
William Eggleston: The Democratic Forest, by Eudora Welty- Amazon Sales Rank: #274685 in Books
- Published on: 2015-11-24
- Original language: English
- Number of items: 1
- Dimensions: 19.30" h x 8.20" w x 14.20" l, 33.00 pounds
- Binding: Hardcover
- 1328 pages
Review Taken as a whole, this enormous collection is kind of like bellying up to a luxurious buffet―it's delicious, and overwhelming, but worth the heartburn. (Mark Murrmann Mother Jones)The images are democratic in the sense of how varied and inclusive they are. Eggleston shoots parked cars, flower vases, cemeteries, gas stations and piles of dirt, and each photograph in these long, glorious sequences (there are 10 volumes in all, with titles like “Pittsburgh,” “Berlin” and “The Pastoral”) merits its place. There are few photographers whose images I would wish to see more than a thousand of in a single sitting. Eggleston is easily in that class. (Teju Cole The New York Times Magazine)The year’s major, massive photographic event... Whittled down to just 150 pictures in full, saturated Egglestonian color when it was published in 1989, the book now stretches to a vast expanse of images, most never before published, vividly illustrating his definition of what it means to photograph democratically―in other words, everything. (Rebecca Bengal Vogue)More than any other project by Eggleston, these photographs deliver his aesthetic, which, as the title gives away, is also a philosophy of democracy: the power of the ordinary, the beauty of contingency, the aim of a universalist view... Steidl has been steadily working to put Eggleston in wider circulation, and this anthology is a cause for celebration. (Prudence Peiffer Bookforum)
About the Author "William Eggleston was born in 1937 in Memphis, Tennessee. He took his first black-and-white photographs at age 18 and soon became serious about photography, though he never studied it formally. His first color work was shot in 1964 in color negative film, but in the late 60s he began to use color slides; it was some of those slides that he brought with him to New York in 1967, when he met Diane Arbus, Lee Friedlander, Garry Winogrand, and John Szarkowski. It was Szarkowski who curated Eggleston's landmark 1976 solo exhibition at The Museum of Modern Art, New York--a breakthrough in the perception of color photography as a serious form of fine art. The recipient of the 1998 Hasselblad Award, Eggleston's work was most recently seen in Documenta11 and in a major retrospective at the Fondation Cartier in Paris."Mark Holborn is an editor at Random House in London.Eudora Welty is the author of many novels and story collections, including "The Optimist's Daughter" (Pulitzer Prize), "Losing Battles", "The Ponder Heart", "The Robber Bridegroom", "A Curtain of Green and Other Stories", as well as three collections of her photographic work (all from the University Press of Mississippi)-"Photographs", "Country Churchyards", and "One Time, One Place: Mississippi in the Depression"."William Eggleston was born in 1937 in Memphis, Tennessee. He took his first black-and-white photographs at age 18 and soon became serious about photography, though he never studied it formally. His first color work was shot in 1964 in color negative film, but in the late 60s he began to use color slides; it was some of those slides that he brought with him to New York in 1967, when he met Diane Arbus, Lee Friedlander, Garry Winogrand, and John Szarkowski. It was Szarkowski who curated Eggleston's landmark 1976 solo exhibition at The Museum of Modern Art, New York--a breakthrough in the perception of color photography as a serious form of fine art. The recipient of the 1998 Hasselblad Award, Eggleston's work was most recently seen in Documenta11 and in a major retrospective at the Fondation Cartier in Paris."
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Most helpful customer reviews
9 of 9 people found the following review helpful. It's Steidl + William Eggleston--it doesn't disappoint. By QED I'm such a tremendous Eggleston fan that I'm grateful for any and all monographs. The 10-volume set just arrived this week, so some initial impressions (hopefully Robin Benson will weigh in with his always invaluable reviews)--the printing is gorgeous, the pages thick and substantial. This is Steidl, so the production values are top-notch.While some of the images are familiar--those published in the first iteration of "The Democratic Forest"---this provides a far larger and richer glimpse into the body of work Eggleston produced in the late'70/'80s. Not the least of which is the evolution of his pictorial style into one that--as Mark Holborn notes in his intro--neatly straddles the line b/t concrete and abstract.What this shift in form means for Eggleston's treatment of his subject matter and his emotional relationship to those subjects is something I'm trying to figure out. To me, while Eggleston's presentation of the banal offers an apparent cool detachment from what he's shooting (he was unimpressed by the cultural changes enveloping the South and everywhere else), his response is actually visceral. That's the neat trick he pulls off, and the tension b/t the photos' concrete and abstract imagery reinforces the emotional dissonance.In raising the issue Holborn opens the door to a line of analysis I hadn't seen before; one that ought to rejuvenate--broaden--the critical understanding of Eggleston.More later.Addendum:One additional thought and this was my reaction to Chromes and Los Alamos: The number of images can be overwhelming; it in some ways dilutes the power of the best photos, lacking the punch of the tightly edited Guide or the original Los Alamos.Though each of the ten volumes is organized around a theme (Louisiana Project, Berlin, Surfaces)--making it a terrific if academic exploration of Eggleston's evolution of treatment and subject and form--diving into the set teeters toward a didactic rather than aesthetic experience.Which is not to denigrate the editors' incredible efforts and success in producing a thorough exploration of Eggleston's late 70's and 80's photos. Clearly a project of love. And welcome glimpse into a huge body of work. I'm sticking by my 5 stars.
0 of 0 people found the following review helpful. Ambitious publication! By AGG Ambitious publication: 10 volumes with printed covers and beautiful reproductions. Weighing over 30 pounds, the carton arrived with "Heavy" stickers attached, my first delivery was damaged; the slipcase is a bit flimsy resulting in heavy damage to one of the volumes. "The Democratic Forest" is a highly recommended publication brilliantly sequenced and thoughtfully combined in thematically titled volumes.
2 of 4 people found the following review helpful. Five Stars By Amazon Customer The best living artist.
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