The 2005 documentary William Eggleston in the Real World has been restored and re-released on home media. Far from a normal biography, it often plays like a homage to the photographer’s work.
This exhibition of William Eggleston’s color photographs developed from negatives made between 1965 and 1974, reminds me of the tagline from the 1969 film Easy Rider: “A man went looking for America, and couldn’t find it anywhere … ”
Eggleston often cites Bach as his musical hero, and it shows.
The Photographer’s Cookbook is a real gem for photo enthusiasts, featuring the favorite recipes of 50 major photographers, from William Eggleston to Marion Faller.
Some artists display their hometown pride (or lack thereof) all over their canvases: One of William Eggleston’s most famous photographs, for example, was shot near where he grew up, in Sumner, Mississippi.
LOS ANGELES — The red carpet at Paramount Pictures Studios didn’t lead to a movie premiere or an awards ceremony, but rather the Lower East Side — or at least its facsimile in the studio’s New York backlot, where brownstone and cast-iron buildings hosted pop-up galleries and bookshops. This was the second year that international photography fair Paris Photo returned to Los Angeles for its American offshoot.
What has really riveted the attention of the art world in the last few seasons is the law.
NEW ORLEANS – Prospect 2 isn’t just about the new or the conceptual or the overwrought: William Eggleston brings a pair of several decades-old works to his Prospect installation at the Old US Mint on the edge of the French Quarter, and together they offer the most satisfying viewing experience of anything I’ve seen so far in this edition of the biennial.
The Art Show has been hosted by the Art Dealers Association of America (ADAA) for the last 23 years, reigning supreme as the longest running national art fair. The ADAA consists of 175 galleries but only seventy exhibitors enrolled this year, excluding stunners like Andrea Rosen, Betty Cunningham, PPOW and Gavin Brown. A large majority of the participants are located uptown between 50th Street and 90th Street. The generalized content (“cutting-edge, 21st century works” and “museum quality pieces from the 19th and 20th centuries”) and my fears of dated academia prepped me for the deflated viewing that was The Art Show. The ADAA’s Executive Director spoke to the “calm and intimate atmosphere” of The Art Show. Although the Park Avenue Armory’s soaring “balloon shed” construction is partially responsible, the cavalcade of elderly patrons weren’t exactly rambunctious. The air-kisses exchanged between crotchety senior citizens summoned a swinger’s club way past its prime.