Tag Archives: William Eggleston

Lisa McCord

Some people are born storytellers and a lot of those storytellers are born in the South.  As they narrate their lives, there is a cadence to their speech, to their images–a slowed down lyrical way of conveying information.  Lisa McCord is one of those storytellers, and I am letting her do the talking today (just throw in a Southern accent as you read).  Lisa has been a photographer for a long time and I am sharing a long ago body of work, Rotan Switch, about the community she grew up in, and also celebrating her inclusion in the Holiday exhibition at the Lisa Kurts Gallery in Memphis opening tomorrow night, December 7th, where she keeps excellent company with William Eggleston and William Christenberry.

I was precocious child, born to a young mother and grandmother who were painters and creative
spirits. My mother’s art determined the course of my life. If my mother wanted to paint in a new place,
we simply moved. We moved 13 times before I was 18. I often accompanied her to the Arkansas Arts
Center where she took figure-painting classes. During class, I shaped clay sculptures, based on the nude
model on the other side of the divided painting studio. She taught me to use my imagination and find a
sense of home in my self-expression. Like my mother, I too, lived in many places, following my
photographic curiosities. It wasn’t until after graduate school, that I settled in one place, Los Angeles
with my husband and son. 

Since we moved so many times, my sense of place is based on my grandparent’s home, a
cotton farm in Arkansas on the Mississippi Delta, where they lived for most of their lives. My
grandparents and their home was the only permanent thing in my life. Much of my work draws from my
relationship with permanence and transience. 

While studying at an all-girls boarding school in Michigan that is connected to Cranbrook
Academy of Art, I became interested in photography. I pursued an education in photography at schools
in New York, Paris, and Greece, and California. I lived and photographed in London, Guatemala, Haiti,
and throughout the United States. After finishing graduate school, I taught photography at several
high schools and universities in the LA area. I am now working full time as a fine art photographer,
allowing the camera to take me places both in the past and present, creating photographs that explore
my memories and tell my stories. 

Rotan Switch

Growing up in the South is very different than growing up anywhere else. The unique social
norms of the south colored our life with a richness that made us who we are. My immediately family, my
mother, sister, brother, and I, moved thirteen times before I was eighteen. Although we lived all over
the United States, the southern nuances remain dominant in our characters. There are many southern
archetypes in my family. My mother, Sherwood, a painter, was the rebel of our family. Uncle Eldon, Dr.
Eldon Fairley, the country doctor, was the caregiver of our town. My grandfather, Harold Ohlendorf, a
tenant farmer and self-made businessman was the town benefactor. The encouragement of these
three personalities, along with the influences of other family members, freed my siblings and me to
dream big, be kind, remember our P’s and Q’s, and always say, “Hallelujah!” after God’s graces.

Dave Anderson at the Center for Photography at Woodstock

© Dave Anderson

Dave Anderson has photographed in tough places—a surviving Ku Klux Klan bastion in Texas, New Orlean’s post-Katrina Ninth Ward—but his photographs are rarely gritty. His Aperture monograph One Block, which documents the rebuilding efforts of one block of Ninth Ward residents, focuses less on the neighborhood’s despair and more on its hopes for renewal. Anderson knew that to photograph amidst such hardship he would have to tread lightly: “I was super-cognizant of ‘photographers fatigue’–people were sick of photographers showing up night and day and making grand promises,” he mentioned in a Color magazine profile. That Anderson spent time living and forming relationships with the residents he photographed is evident in the work—the subjects appear at ease, comfortable sharing their struggle to rebuild with Anderson and his lens.

Anderson produces videos as well as photographs—he is the man behind Oxford American’s SoLost web series, a video exploration of “the side roads, backrooms, cellars and psyche of the modern South,” which so far features 29 four-to-seven minute mini-documentaries on subjects ranging from a couple constructing a medieval castle in Arkansas, to Alabama menswear designer Billy Reid, to photographer William Eggleston. SoLost is a one-man operation, which accounts for the easy rapport between Anderson’s camera and his subjects, and why these videos feel like privileged glimpses into the richness and diversity of life in the American South.

Anderson will give a lecture about his image-making projects at The Center for Photography at Woodstock, this Friday, July 13 at 8pm. If you’re in the area, it will be worth checking out.

›› Watch a video of Anderson speaking about One Block with Aperture, and head to the Aperture store if you’re interested in purchasing a copy.


Shared Vision: A Conversation with Sondra Gilman, Celso Gonzalez-Falla, and Mitch Epstein

Flag, 2000 (c) Mitch Epstein

In the mid-70s, Mitch Epstein was exhibiting some of his earliest work, some of the images first to elevate color photography into the realm of fine art, joining the ranks of Stephen Shore and William Eggleston. Right around that time, Sondra Gilman, who, along with her husband Celso Gonzalez-Falla, has been repeated ranked among the top photo collectors in the world by ARTnews, purchased her first photograph.

She had “tripped over a [Eugène] Atget show” at MoMA, she tells New York Social Diary in an interview (accompanied by dozens of images of the collection at home in their Upper East Side townhouse), and “literally had an epiphany.” She ended up buying three $250 prints at a time when photographs “had no value.” Since then, the couple’s collection has grown to several hundred vintage prints, and their value, surely to no one’s surprise today, has grown astronomically.

Marcelle Polednik, Director MOCA Jacksonville, Celso Gonzalez-Falla and Sondra Gilman at a walkthrough of Shared Vision during Aperture’s Armory Brunch 2012.

On Wednesday, April 11, 2012 Aperture Foundation presents a conversation with Gilman and Gonzalez-Falla alongside Epstein, whose work features prominently in the Shared Vision collection (at Aperture through April 21, 2012). This ambitious exhibition, organized by the Museum of Contemporary Art (MOCA) Jacksonville, curated by Ben Thompson and Paul Karabinis, brings together their most iconic images reflecting the diverse nature of an entire century of photography. The exhibition is accompanied by a fully illustrated catalogue published by MOCA and produced by Aperture, including historical context for each image and photographer as well as curatorial remarks.

Epstein, who won the Prix Pictet in 2011, the Berlin Prize in Arts and Letters in 2008, and the Kraszna-Krausz Photography Book Award in 2004, also appears in the New York Times Magazine Photographs, edited by Kathy Ryan, and Aperture issue 168. A former student of Garry Winogrand at Cooper Union in the early ’70s, his work has since landed in the collections of the MoMA, the Whitney, the Getty Museum, SFMOMA, and Tate Modern in London. While his projects often start as independent explorations or excursions, he has a strong inclination to “engage with issues beyond self-reflexive ones,” he tells BOMB in a lengthy interview about how some of his latest projects including American Power, progressed from an editorial assignment, to a print series, to a book.

Watch a great video shot at Tate Modern of Epstein discussing his latest series and exploring what makes a strong photograph. Check out photos from our the walkthrough of the Shared Vision exhibition with Marcelle Polednik, Director of MOCA Jacksonville and the collectors, and the VIP walkthrough during last weekend’s AIPAD Photography Show. And find images of the installation as well as an index of the work on view at DLK Collection.

Shared Vision: A Conversation with Sondra Gilman, Celso Gonzalez-Falla, and Mitch Epstein
Wednesday, April 11, 2012 at 6:30 pm

Aperture Gallery and Bookstore
547 West 27th Street, 4th Floor
New York, New York
(212) 505-5555

Alex Prager Wins Foam Paul Huf Award 2012

In the clip above, Alex Prager, in conversation with gallerist Yancey Richardson (September 30, 2010 at Aperture as part of the Parsons Lecture Series), talks about wandering through the Getty Center one day, never before having considered photography, stumbling upon William Eggleston’s print of old shoes under a bed and being completely moved and inspired to pick up a camera for the first time.


Out of 100 nominees from around the world, an international jury has selected photographer Alex Prager, who was showcased at MoMA’s New Photography 2010 exhibition, as winner of the Foam Paul Huf Award 2012. Simon Baker, chairman of the jury, said:

Prager’s work is original, intelligent and seductive. She thoroughly deserves her place in the company of former Foam Paul Huf winners, which is fast becoming a who’s who of contemporary photographic practice.

The annual € 20,000 prize is awarded to a photographer under 35 years of age, who then goes on to present their work in a solo exhibition at the Foam Museum. Prager’s saturated, cinematic, stylized and glamourously surreal photographs will be on view in Amsterdam August 31, 2012 – October 14, 2012.

Foam Amsterdam
Keizersgracht 609, 1017 DS
Binnenstad, Netherlands
+31 20 551 6500

Prager will also have a multi-city solo exhibition, Compulsion, on view simultaneously at Yancey Richardson Gallery in New York, M+B Gallery in LA, and Michael Hoppen Gallery in London, April 5, 2012 – May 19, 2012.  Huffington Post has a behind-the-scenes photo exclusive of the show and Q&A with the photographer.

Yancey Richardson Gallery
535 West 22nd Street 3rd floor
New York, NY 10011
(646) 230-9610

M+B Gallery
612 North Almont Drive
Los Angeles, California 90069
(310) 550-0050

Michael Hoppen Gallery
3 Jubilee Place,
London SW3 3TD
+44 (0)20 7352 3649

Paul Graham Wins 2012 Hasselblad Award

A1-29 (A1-The Great North Road), 1982, © Paul Graham

Photographer Paul Graham has been named the 2012 recipient of the Hasselblad Award, the first British photographer to win the prominent international prize.

Graham, hailing from Buckinghamshire, is a pioneer of color documentary photography in 1980’s Britain, influencing successive generations of young photographers. Self-taught, he grew up studying the works of American pioneers, Walker Evans, Robert Frank, and Paul Strand. A-1 The Great Road North, a color series shot along the British motorway and Beyond Caring, a string of photographs shot in unemployment offices, were projects that brought Graham to critical and international acclaim in the early 80’s.

More recently, Graham’s work has become purposely abstruse as he challenges preconceived notions of the ‘style’ of documentary photography. The most exaggerated example is American Night. The series, shot in 2003, explores social and racial issues of the United States through over-exposed images that appear almost invisible. “The photography I most respect pulls something out of the ether of nothingness,” Graham states. American Night is featured in Graham’s body of work that is a part of the exhibition trilogy, The Present, now being exhibited at the Pace/MacGill gallery in New York City.

With the acceptance of this award, Graham joins the ranks of noted past winners and Aperture published photographers, Robert Adams, William Eggleston, and Nan Goldin.

Graham discusses his career and fresh photography in Aperture issue 199.

William Eggleston: Oversized

Untitled, 1965, © William Eggleston / Eggleston Artistic Trust / Cheim & Read Gallery

In 1976 Memphis-native William Eggleston ushered in a new age of photography with his ground-breaking use of color. The Museum of Modern Art hosted its first one-man color photography exhibition featuring Eggleston’s work. This particular display is known for prompting the acceptance of color photography as well as legitimizing and popularizing the refashioned medium.

With a focus on the mundane, Eggleston has the ability to capture the vibrant nature of seemingly ordinary objects and individuals; a blue tricycle, a light bulb hanging from a red ceiling, a woman’s bouffant hair-do. The normality of his subjects is deceived with his use of rich colors and appealing angles.

Eggleston has gone through his archives and reconsidered some of his work. In an era of new technology, he has decided to enlarge 36 of his most well-known photographs along with some never-before-seen images. By playing with the scale, moving from 16-by-20 inch prints to 44-by-60 inches, Eggleston claims to see things that he never knew were there. Christie’s will be selling the new-fangled oversized photographs to benefit the Eggleston Artistic Trust.

Eggleston’s work has appeared in Aperture issues 169, 181, and 196.

Public viewing:
March 8–11, 2012

Auction begins:
Monday, March 12, 2012
5:00 pm

Rockefeller Center
20 Rockefeller Plaza
New York, NY
(212) 332-6868

Vancouver Vanguard: Fred Herzog’s Early Color Street Photographs

In 1953, decades before William Eggleston and Stephen Shore established color photography as a serious medium for art photography, Fred Herzog shot his first roll of color film.

His wonderful and remarkable street pictures are the subject of a new monograph called Fred Herzog Photographs, published this month by Douglas and McIntyre. The book offers deep insight into the photographer’s color work, which was made during a time when serious, documentary and fine art photography was still being shot in black-and-white. The tools were there, as Herzog says, “to make unposed photographs in color that have historical value.”

© Fred Herzog—Courtesy of Equinox Gallery, Vancouver

CPR Pier & Marine Building, 1953.

A photograph taken from Herzog’s first roll of color film

Fred Herzog was 20 years old—a late comer to photography—when he brought his first camera in 1950 and began shooting black-and-white pictures in his native Germany. Two years later, in search of work, Herzog traveled to Canada, eventually settling in Vancouver, where he still lives and works today. In 1953 on leave from his job in the shipyards, Herzog made the first of some 120,000 color photographs, on the city’s streets. The photographer treated the pictures “as a form of journalism,” using Kodachrome ISO10, a film that severely limited him technically in terms of what he could do. But Herzog was not afraid to take chances, shooting handheld even at night.

Herzog, does not claim to be the first color street photographer—for that honor, he cites his contemporary, the more lyrical New York street photographer Saul Leiter—but he was certainly among the first to produce a large volume of color images of this type. Herzog expanded street photography to encompass billboards, store windows and cars. The greater body of his images focus on the grittier aspects of Vancouver and they were a response to the culture he found in Canada. “In Germany you did not buy something secondhand—it is a social necessity to look successful,” he says. “For me it is not. Canada offered an interesting contrast. It had secondhand shops in the American idiom. I saw in the secondhand store windows the icons of Americanism in a picturesque jumble.” Herzog incorporated some of that Americanism into his work. “I showed the American dream on posters. I showed old cars, new cars, worn cars, people in cars and the decay of the car— more as a phenomenon than a social criticism,” he says, though adding that his intention was always “for his work to be ideologically neutral.”

© Fred Herzog—Courtesy of Equinox Gallery, Vancouver

Self-Portrait, 1961

For several decades thereafter, Herzog continued shooting the streets as a pastime—while working as a medical photographer by day—and enjoyed moderate success with his work. But it wasn’t until 2007 that his first major show went on display at the Vancouver Art Gallery. When this opportunity came, Herzog—who was by then in his late seventies—used new technologies to recover and present images that would otherwise have been forever lost. Many photos were able to be rescued through scanning and ink jet printing that restored the intended color palette. With the show, Herzog’s photographs found a wider audience and several books were published of the work. And luckily, for photography fans, the latest is the most comprehensive yet and features written essays by Douglas Coupland and fellow Vancouver-based photographer and artist Jeff Wall. “They have been very generous,” Herzong says of the Vancouver vanguard, including Wall whom Herzog now counts amongst his close friends. “I didn’t step on anyone’s toes by coming late and having success.”

Fred Herzog Photographs, was published this month by Douglas and McIntyre.

William Eggleston: Before Colour

1000 Words is offering its readers discounted copies of William Eggleston´s Before Colour, courtesy of Steidl. To order your copy please contact tim(at)1000wordsmag(dot)com.

Please see below for more details:

William Eggleston
Before Colour


All images © Eggleston Artistic Trust

A few years ago in the archives of the William Eggleston Artistic Trust in Memphis, a box was found containing Eggleston’s earliest photography – remarkably in black and white. The photos were subsequently exhibited at Cheim & Read gallery in New York and sold. This book reunites these photos in their entirety, and shows the artistic beginnings of a pioneer of contemporary photography.

In the late 1950s Eggleston began photographing suburban Memphis using high-speed 35 mm black and white film, developing the style and motifs that would come to shape his pivotal colour work including diners, supermarkets, domestic interiors and people engaged in seemingly trivial and banal situations. Now, fifty years later, all the plates in Before Colour have been scanned from vintage prints developed by Eggleston in his own darkroom. In the mid 1960s Eggleston discovered colour film and was quickly satisfied with the results: “And by God, it worked. Just overnight.” Eggleston then abandoned black and white photography, but its fundamental influence on his practice is undeniable.

Edited by Chris Burnside, John Cheim, Howard Read, Thomas Weski together with the Eggleston Artistic Trust
With an Essay by Dave Hickey
152 Quadratone plates
200 pages
22.5 cm x 25.5 cm
Hardcover, with yellow imitation leather, with a tipped in photo
ISBN: 978-3-86930-122-8

Original post: