William Eggleston

William Eggleston est né à Memphis (Tennessee) et a grandi à Sumner (Mississippi). Son père était un ingénieur qui a échoué dans une carrière de producteur de coton et sa mère était la fille d'un important juge local. Enfant, Eggleston était introverti et aimait le piano, le dessin, et l'électronique. Il se dirigea vers les médias visuels dès son plus jeune âge ; il prenait, paraît-il, du plaisir à acheter des cartes postales et à découper des images dans les magazines. Il s'intéressait également aux technologies audio.[évasif]

À l'âge de quinze ans, Eggleston fut envoyé dans la « Webb School », un internat scolaire de Bell Buck (Tennessee). Il eut, plus tard, peu de souvenirs agréables de l'école. « Il y avait une sorte de routine spartiate pour « forger le caractère ». Je n'ai jamais su ce que c'était censé signifier. C'était tellement idiot et sans pitié. C'était le genre d'endroit où aimer la musique et la peinture était considéré comme efféminé. », déclara-t-il à un journaliste[réf. nécessaire]. Eggleston paraissait étrange parmi ses semblables du fait qu'il évitait les activités typiques masculines méridionales telles que la chasse et le sport, en faveur d'activités artistiques et de l'observation du monde autour de lui.

Il passa un an à l‘université Vanderbilt, un semestre au Delta State College et environ cinq ans à l'université du Mississippi, sans jamais passer dans une classe supérieure. C'est cependant à l'université que son intérêt pour la photographie a débuté ; lors de sa première année à l'université, un ami lui offrit un appareil photo Leica. Eggleston prit des cours d'art à Ole Miss et a été amené à l'expressionnisme abstrait par un peintre les visitant nommé Tom Young.


English version
BORN July 27, 1939, Memphis, Tennessee
RESIDES Memphis, Tennessee
EDUCATION Attended Vanderbilt University, Nashville, TN; Delta State
College, Cleveland, MS; University of Mississippi, Oxford, MS
TIMELINE
1957 Acquires his first camera, a Canon rangefinder.
1958 Acquires his first Leica.
1959 Sees Henri Cartier-Bresson's The Decisive Moment and Walker Evans's
American Photographs.
1965 Begins to experiment with color negative film.
1967 Starts to use color transparency film. Goes to New York and meets Garry
Winogrand, Lee Friedlander and Diane Arbus. Presents his work to John
Szarkowski at the Museum of Modern Art, New York.
1972 Has his first dye transfer printed, Untitled, (Greenwood Moose Lodge)
1974 Harry Lunn publishes the first portfolio of dye-transfer photographs, "14
Pictures." Receives a Guggenheim Fellowship. Appointed Lecturer in
Visual and Environmental Studies at The Carpenter Center, Harvard
University. Completes his Los Alamos project.
1975 Receives a National Endowment for the Arts Photographer's Fellowship.
1976 The Museum of Modern Art exhibits work in first solo exhibition of color
photographs, accompanied by a monograph, "William Eggleston's Guide."
Commissioned by Rolling Stone to photograph Plains, Georgia before the
election of President Jimmy Carter. This work becomes "Election Eve,"
the first artist's book of original photographs published by Caldecot
Chubb.
1978 Appointed Researcher in Color Video at Massachusetts Institute of
Technology at the invitation of Richard Leacock. Photographs the Gulf
states on a commission from A.T. & T. Receives another award from the
National Endowment for the Arts. Visits Jamaica.
1979 Chubb published three smaller volumes of original photographs mounted
and bound, "Morals of Vision," "Wedgwood Blue," and "Flowers."
1980 Travels to Kenya with Chubb and creates a body of work known as "The
Streets Are Clean on Jupiter." Commissioned to produce the "Louisiana
Project" and to photograph throughout the state.
1982 Invited to photograph the set of John Huston's film Annie.
1983 Begins to photograph in Berlin, Salzburg and Graz and titles the series
Kiss me Kracow. Commissioned to photograph the mansion of Elvis
Presley, Graceland.
1986 Invited by director David Byrne to visit and photograph the making of his
film True Stories. Commissioned by the Memphis Brooks Museum of Art
to photograph in Egypt.
1988 Begins a series of color photographs of England he calls English Rose.
1989 Photographs in the orange groves of the Transvaal. Accepts one of «54
Master Photographers of 1960-1979» awards from Photographic Society
of Japan. Plays the role of musician Jerry Lee Lewis' father in the movie
Great Balls of Fire.
1992 Travels to China, mainly photographing in Beijing.
1993 Commissioned by Delta Pine and Land to photograph Scott, Mississippi.
1996 Commissioned by Coca-Cola to photograph their plants in four cities in
the U.S. Invited by producer Caldecot Chubb to visit and photograph the
making of the film Eve's Bayou. Receives the University of Memphis
Distinguished Achievement Award.
1998 First dealer and longtime friend, Harry Lunn dies.
1999 Invited by director Gus Van Sant to visit and photograph the making of the
film Easter. Invited by the J. Paul Getty Museum to photograph the
museum and its grounds. Also photographs religious locations in Orange
County, California.
2000 Commissioned by the Cartier Foundation to photograph the American
desert. Commissioned by Paramount Pictures to photograph studio lot in
Hollywood, California.
2001 Travels to Japan and photographs Kyoto. Agrees to work with filmmakers
Vincent Gerard and Cedric Laty to produce a documentary film entitled
Eggleston Suite, later titled By The Ways (A Journey With William
Eggleston).
2002 Travels extensively and photographs locations including Pasadena,
California; the New Jersey Shore; Queens, New York; St. Petersburg,
Russia; and Tuscany, Italy.
2003 Travels to and photographs the Niagara Falls area. Travels to Arles,
France to attend Rencontres d'Arles and meets Henri Cartier-Bresson.
Accepts Gold Medal for Photography from National Arts Club, New York.
2004 Receives the Getty Images Lifetime Achievement Award at the
International Center of Photography (ICP). Travels to Hawaii and
photographs with new Hasselblad panoramic format camera. Travels to
Madrid to accept 2004 Photoespana Award. Travels to Clovis, New
Mexico and photographs the city and Norman Petty Recording Studios.
Stranded In Canton, a video shot by Eggleston in the early seventies is
screened in London.
2005 William Eggleston In The Real World, a documentary film on Eggleston by
Michael Almereyda is completed. Travels to Xilitla, Mexico to photograph
Las Pozas. Longtime advisor and friend, Walter Hopps dies. Invited and
travels to Tokyo to be guest judge at Canon's New Cosmos Photography
Contest.
SELECTED SOLO EXHIBITIONS
1974 Jefferson Place Gallery, Washington, D.C.
1975 Carpenter Center, Harvard University, Cambridge, MA
1976 Photographs by William Eggleston, The Museum of Modern Art, New
York, NY. Traveled to Seattle Art Museum, Seattle, WA; Santa Barbara
Museum of Art, Santa Barbara, CA; Fredrick Wright Art Galleries,
University of California at Los Angeles, Los Angeles, CA; Reed College,
Portland, OR; Art Gallery, University of Maryland, College Park, MD
Photographs by William Eggleston, Grapestake Gallery, San Francisco,
CA
1977 Brooks Memorial Art Gallery, Memphis, TN
William Eggleston: Color Photographs 1966-1977, Castelli Graphics/Leo
Castelli, New York, NY
Castelli, New York, NY
Allan Frumkin Gallery, Chicago, IL
Lunn Gallery, Washington, D.C.
Election Eve, Corcoran Gallery of Art, Washington, D.C.
William Eggleston: Dye transfer Photographs, Grapestake Gallery, San
Francisco, CA
1978 Election Eve, Laguna Gloria Museum, Austin, TX
William Eggleston: Color Photographs, Allan Frumkin Gallery, Chicago, IL
William Eggleston: Photographs, Lunn Gallery, Washington, D.C.
1979 Photographer's Gallery, Melbourne, Australia
Volkhochschule, Berlin, Germany
1980 Troubled Waters, Charles Cowles Gallery, New York, NY
Eggleston, Fraenkel Gallery, San Francisco, CA
1981 William Eggleston: Photographs 1967-1978, Light Gallery, New York, NY
1982 William Eggleston: 5 Projects, Lunn Gallery, Washington, D.C.
William Eggleston: Troubled Waters, Corcoran Gallery of Art, Washington,
D.C.
1983 William Eggleston: Color Photographs from the American South, Victoria
and Albert Museum, London, England. Traveled to Arnolfini Gallery,
Bristol, England
Werkstatt für Photographie, Berlin, Germany
Kenia, Fotogalerie im Forum Stadtpark, Graz, Austria
William Eggleston: Recent Color Photographs, Fraenkel Gallery, San
Francisco, CA
1984 William Eggleston: Dye Transfer Photographs of Elvis Presley's Home,
Robert Miller Gallery, New York, NY
Photographs of Graceland, Memphis Brooks Museum of Art, Memphis,
TN
William Eggleston's Graceland, Middendorf Gallery, Washington, D.C.
Traveled to Birmingham Museum, Birmingham, AL; James Corcoran
Gallery, Los Angeles, CA; Aspen Museum of Art, Aspen, CO
Graceland and the South, Art Institute of Chicago, Chicago, IL
1985 Recent Color Photographs, Friends of Photography, Carmel, CA
Middendorf Gallery, Washington, D.C.
William Eggleston, Fay Gold Gallery, Atlanta, GA
New Works from the Tennessee Project, Allen Street Gallery, Dallas, TX
William Eggleston, Victoria and Albert Museum, London, England
Bill Eggleston: New Orleans Project, Memphis Brooks Museum of Art,
Memphis, TN
William Eggleston: Photographs from Miami, Day Vista Photography
Gallery, Florida International University, Miami, FL
1986 William Eggleston's Early Black and White Photography, Memphis Brooks
Museum, Memphis, TN
William Eggleston, Fraenkel Gallery, San Francisco, CA
1987 Southern Texas Museum, Austin, TX
Eggleston's Egypt, Memphis Brooks Museum of Art, Memphis, TN
Traveled to Denver Art Museum, Denver, CO
William Eggleston's Guide, Middendorf Gallery, Washington, D.C.
William Eggleston, Pace/MacGill, New York, NY
1988 Middendorf Gallery, Washington, D.C.
1989 Laurence Miller Gallery, New York, NY
New Orleans Museum of Art, New Orleans, LA
Oxford University Museum, Oxford, MS
1990 William Eggleston: The Democratic Forest, Corcoran Gallery of Art,
Washington, D.C.
1992 Ancient and Modern, Barbican Art Gallery, London, England. Traveled to
Louisiana Museum of Modern Art, Copenhagen, Denmark; Museum
Folkwang, Essen, Germany; Fotomuseum Winterthur, Zürich, Switzerland
William Eggleston: First Color 1967-1972, Laurence Miller Gallery, New
York, NY
1993 William Eggleston, Robert Miller Gallery, New York, NY
William Eggleston, Kurts Bingham Gallery, Memphis, TN
1994 From Graceland to Wasteland, Laurence Miller Gallery, New York, NY
Th.e., Naples, Italy
Scarabb Gallery, Cleveland, OH
Kurts Bingham Gallery, Memphis, TN
1995 Four Portfolios, Art Museum of University of Memphis, Memphis, TN
Shiraishi Contemporary Art, Inc, Yokohama, Japan
Mississippi Museum of Art, Jackson, MS
1997 10.D.70.V1 and 10.D.70.V2, Robert Miller Gallery, New York, NY
William Eggleston: Pictures from Eve's Bayou, Gallery of Contemporary
Photography, Santa Monica, CA
1998 William Eggleston, 213 - Marion de Beaupré, Paris, France
William Eggleston: Morals of Vision, Westfälischer Kunstverein, Münster,
Germany
Pictures from Eve's Bayou, Ledbetter Lusk Gallery, Memphis, TN
William Eggleston, Southside Gallery, Oxford, MS
1999 Cadillac, Cheim & Read Gallery, New York, NY
William Eggleston: Photographs 1966-1971, Cheim & Read Gallery, New
York, NY
William Eggleston: In Color, 1966-1996, Gallery of Contemporary
Photography, Santa Monica, CA
William Eggleston: 1998 Hasselblad Award Winner, Hasselblad Center,
Göteborg, Sweden. Traveled to Bilbao, Spain
Eggleston 70/90, Gallery of Contemporary Photography, Santa Monica,
CA
2000 William Eggleston el color como lenguaje, Fotoseptiembre Internacional,
Mexico City, Mexico
William Eggleston, Gallery Hue-Williams Michael Fine Art, London,
England
2001 William Eggleston, Recent Work, Cheim & Read, New York, NY
William Eggleston, Photoespana, Madrid, Spain
Snapshots from Life, Photographs by William Eggleston, The Arts Center,
St. Petersburg, FL
William Eggleston, Foundation Cartier, Paris. Traveled to Hayward
Gallery, London, England
Mostly California Desert Pictures 1999-2001, Rose Gallery, Santa Monica,
CA
William Eggleston, Cheim & Read Gallery, New York, NY
2002 William Eggleston: Los Alamos, Museum Ludwig, Cologne, Germany.
Traveling to Museu de Arte Contemporanea de Serravles, Portugal;
National Museum for Contemporary Art, Oslo, Norway; Louisiana
Museum of Art, Humlebaek, Denmark; Albertina, Vienna, Austria; San
Francisco Museum of Modern Art, San Francisco, CA; Dallas Museum of
Art, Dallas, TX
2004 William Eggleston, Precolor, Cheim & Read Gallery, New York, NY
William Eggleston, Dust Bells, Victoria Miro Gallery, London
2005 Nightclub Portraits, 1973, Cheim & Read, New York, NY
SELECTED GROUP EXHIBITIONS
1972 Photography Workshop Invitational, Corcoran Gallery of Art, Washington,
D.C.
1974 Art Now '74, Kennedy Art Center for the Performing Arts, Washington,
D.C.
Straight Color, Rochester Institute of Technology, Rochester, NY
1975 14 American Photographers, The Baltimore Museum of Art, Baltimore,
MD. Traveled to Newport Harbor Art Museum, Newport Beach, CA; La
Jolla Museum of Contemporary Art, La Jolla, CA; Walker Art Center,
Minneapolis, MN; The Fort Worth Museum of Modern Art, Fort Worth, TX
Color Photography: Inventors and Innovators 1850-1975, Yale University
Art Gallery, New Haven, CT
Photography 2, Jack Glenn Gallery, Corona del Mar, CA
1976 Aspects of American Photography 1976, University of Missouri, St. Louis,
MO
Spectrum, Rochester Institute of Technology, Rochester, NY
Color Photographs 1976, The Broxton Gallery, Los Angeles, CA
1977 The Contemporary South, a United States Information Agency traveling
exhibition organized by the New Orleans Museum of Art, New Orleans,
LA
10 Photographes Contemporains/Tendances Actuelles aux Etats-Unis,
Galerie Zabriskie, Paris, France
Contemporary Color Photography, Indiana University Art Museum,
Bloomington, IN
William Christenberry and William Eggleston: Color Photographs, Morgan
Gallery, Shawnee Mission, KS
Some Color Photographs, Castelli Uptown, New York, NY
Contemporary American Photographic Works, The Museum of Fine Arts,
Houston, TX. Traveled to the Museum of Contemporary Art, Chicago, IL;
La Jolla Museum of Contemporary Art, CA; Newport Harbor Art Museum,
Newport Beach, CA
1978 Evocative Presence: Twentieth Century Photographs in the Museum
Collection, Museum of Fine Arts, Houston, TX
New York, New York, Light Gallery, New York, NY
Photographs from Samuel J. Wagstaff Collection, Corcoran Gallery of
Art, Washington, D.C. Traveled to Saint Louis Art Museum, St. Louis,
MO; Grey Art Gallery, New York, NY; Seattle Art Museum, Seattle, WA;
University Art Museum, Berkeley, CA; High Museum of Art, Atlanta, GA
MO; Grey Art Gallery, New York, NY; Seattle Art Museum, Seattle, WA;
University Art Museum, Berkeley, CA; High Museum of Art, Atlanta, GA
In Color, A Gallery for Fine Photography, New Orleans, LA
Six Photographers, Diane Brown Gallery, Washington, D.C.
By the Side of the Road, Currier Gallery of Art, Manchester, NH
Mirrors and Windows: American Photography since 1960, Museum of
Modern Art, New York, NY
23 Photographers, 23 Directions, Walker Art Gallery, Liverpool, England
The Quality of Presence, Lunn Gallery, Washington, D.C.
Amerikanische Landschaftsphotographie, Die Neue Sammlung, Munich,
Germany
Nicholas Nixon and William Eggleston, The Cronin Gallery, Houston, TX
Attitudes: Photography in the 1970's, Santa Barbara Museum of Art,
Santa Barbara, CA
1979 Auto-Icons, Whitney Museum of American Art, New York, NY
One of a Kind, a traveling exhibition from Polaroid Corporation collection
shown at Museum of Fine Arts, Houston, TX. Traveled to De Cordova
Museum, Lincoln, MA; Minneapolis Institute of Arts, Minneapolis, MN; Los
Angeles Institute of Contemporary Art, Los Angeles, CA; Corcoran Gallery
of Art, Washington, D.C.; Denver Art Museum, Denver, CO; and Art
Institute of Chicago, Chicago, IL
American Landscape Photography, Diane Brown Gallery, Washington,
D.C.
Ten from Mirrors and Windows, Grapestake Gallery, San Francisco, CA
American Images, New Work by Twenty Contemporary Photographers,
Corcoran Gallery of Art, Washington, D.C.
Photographie im Alltags Amerikas, Kunstgewerbemuseum, Zürich,
Switzerland
Photographie als Kunst, Tiroler Landesmuseum, Innsbruck, Austria
Invitational Color Photography, MoMing Gallery, Chicago, IL
Curator's Choice: Contemporary American Photography, Fortuny
Museum, Venice, Italy
American Photography in the 1970's, Art Institute of Chicago, Chicago, IL
1980 Three American Photographers, Sunne Savage Gallery, Boston, MA
Lee Friedlander and William Eggleston , Atlanta Gallery of Photography,
Atlanta, GA
Aspects of the 1970's, DeCordova Museum, Lincoln, MA
Zietgenossische Amerikanische Farbphotographie , Galerie Rudolf
Kicken, Cologne, Germany
The Imaginary Photo Museum, Kunsthalle, Cologne, Germany
Farbwerke--Eine Neue Generation, Kunsthaus, Zürich, Switzerland
Southeastern Graphics Invitational, Mint Museum, Charlotte, NC
Nuages, Bibliothèque Nationale, Paris, France
1981 Color in Contemporary Color Photography, University Museum, Southern
Illinois University, Carbondale, IL
An Introduction to Color Photography, Stills Gallery, Edinburgh, Scotland
The New Color: A Decade of Color Photography, Everson Museum of Art,
Syracuse, NY
1982 Slices of Time: California Landscape Photography: 1860 - 1880, 1960 -
1980, Oakland Museum, CA. Traveled to Security Pacific National Bank,
Los Angeles, CA
Floods of Light: The History of Flash Photography, The Photographer's
Gallery, London, England
Photography in Color, Stockton State College, Pomona, NJ
Twentieth-Century Photographs from the Collection of the Museum of
Modern Art, Seibu Department Store Gallery, Tokyo, Japan
Still Life: Photographs from the Collection, Museum of Modern Art, New
York, NY
Target III: In Sequence, Museum of Fine Arts, Houston, TX
Color as Form: The History of Color Photography, International Museum
of Photography at George Eastman House, Rochester, NY, and
Corcoran Gallery of Art, Washington, D.C.
1983 Subjective Vision, High Museum of Art, Atlanta, GA
1984 New Color/New Work: Eighteen Photographic Essays, Middendorf
Gallery, Washington D.C. Traveled to Museum of Contemporary
Photography, Columbia College, Chicago, IL
Color Photographs: Recent Acquisitions, Museum of Modern Art, New
York, NY
1985 Victoria and Albert Museum, London, England
American Images 1945-80, Barbican Art Gallery, London, England
Photographs from the Permanent Collection, Part II, Minneapolis Institute
of Arts, Minneapolis, MN
1986 Twenty-Five Years of Modern Color Photography, Photokina, Cologne,
Germany
1989 Seibu Gallery, Tokyo, Japan
Portraits: A Selection from the Permanent Collection, Minneapolis
Institute of Arts, Minneapolis, MN
1990 Photography Until Now, Museum of Modern Art, New York, NY
Memphis Brooks Museum of Art, Memphis, TN
Recent Accessions in Photography, 1984 - 1990, Minneapolis Institute of
Arts, Minneapolis, MN
1991 Volumes of Photographs: Eggleston and Christenberry, Memphis Brooks
Museum of Art, Memphis, TN
Pleasures and Terrors of Domestic Comfort, Museum of Modern Art,
New York, NY
1992 Recent Acquisitions: William Eggleston, George Eastman House,
Rochester, NY
1993 In Camera, Museum of New Mexico, Santa Fe, NM
Daydream Nation, Luhring Augustine Gallery, New York, NY
Photographers Who Created a New Age, Tokyo Metropolitan Museum of
Modern Art, Tokyo, Japan
Flora and Fauna, Museum of Fine Arts, Houston, TX
William Eggleston and William K. Greiner. Color Photographs,
Contemporary Arts Center, New Orleans, LA
1994 Gesture and Pose: Twentieth Century Photographs from the Collection,
Museum of Modern Art, New York, NY
A Sense of Place, Elizabeth Leach Gallery, Portland, OR
One Hundred Years of Street Photography, University Art Galleries,
Wright State University, Dayton, OH
The Beauty in the Beast: Artists Observe the Horse, Columbus Museum
of Art, Columbus, GA
Brooks Biennial: Memphis Contemporary Photography, Memphis Brooks
Museum of Art, Memphis, TN
New Acquisitions/New Work/New Directions 2, Los Angeles County
Museum of Art, Los Angeles, CA
1995 Recent Acquisitions, Museum of Modern Art, New York, NY
Heimat, Jewish Museum, Vienna, Austria
Blind Spot: Dallas Artists Research and Exhibition, Dallas, TX
Tibet House Benefit Exhibition, Robert Miller Gallery, New York, NY
Human Nature Benefit Exhibition, New Museum, New York, NY
100 Years/100 Images, Frankfurter Kunstverein, Frankfurt, Germany
Internationale Foto-Triennale Esslingen 1995, Galerie der Stadt
Esslingen, Germany
Seeing Things, Andre Emmerich, New York, NY
20/20, In Khan Gallery, New York, NY
Objects, Faces and Anti-Narratives - Rethinking Modernism, Tokyo
Metropolitan Museum of Modern Art, Tokyo, Japan
1996 American Masters of Photography; A 100 Year Survey, Southern
Alleghenies Museum of Art, Loretto, PA
Recent Acquisitions, Museum of Fine Arts, Houston, TX
Blind Spot: The First Four Years, Paolo Baldacci Gallery, New York, NY
1997 Hope Photographs, National Arts Club, New York, NY
Blind Spot: Coming of Age, White Columns, New York, NY
Florescence, Museum of Fine Arts, Houston, TX
About Painting, Robert Miller Gallery, New York, NY
1998 Developing Illusions, 1873-1998: Photographs from the Collection of the
Corcoran Gallery of Art, Corcoran Gallery of Art, Washington, D.C. (-
1999)
1999 William Eggleston and the Color Tradition, J. Paul Getty Museum, Los
Angeles, CA
2000 The Desert, Foundation Cartier, Paris, France
How You Look at It: Photographs of the 20th Century, Sprengel Museum,
Hannover, Germany
2001 Settings and Players, White Cube Gallery, London, England
2002 Documenta 11, Kassel, Germany
2003 Cruel and Tender, Tate Modern, London, England. Traveling to Museum
Ludwig, Cologne, Germany
Strange Days, J. Paul Getty Museum, Los Angeles, CA
2004 Colour After Klein, Barbican Art Gallery, London
2005 Mavericks of Color Photography, Philadelphia Museum of Art
BOOKS WITH ORIGINAL PRINTS
Election Eve, 100 color-coupler prints in two volumes, edition of 5, published in
1977 by Caldecot Chubb, New York
Morals of Vision, 8 color-coupler prints, edition of 15, published in 1978 by
Caldecot Chubb, New York
Flowers, 12 chromogenic coupler prints, edition of 20, published in 1978 by
Caldecot Chubb, New York
Wedgwood Blue, 15 chromogenic coupler prints, edition of 20, published in 1979
by Caldecot Chubb, New York
PORTFOLIOS
William Eggleston, 14 Pictures, 14 dye transfer prints, edition of 15, published in
1974 and distributed by Lunn Gallery/Graphics International, Washington, D.C.
Seven, 7 chromogenic coupler prints, edition of 3, published in 1979 by Caldecot
Chubb, New York
Troubled Waters, 15 dye transfer prints, edition of 30, published in 1980 by
Caldecot Chubb, New York
Southern Suite, 10 dye transfer prints, edition of 12, published in 1981 by Lunn
Gallery, Washington, D.C.
William Eggleston's Graceland, 11 dye transfer prints, edition of 31, published in
1984 by Middendorf Gallery, Washington, D.C.
Eggleston, 10 dye transfer prints, edition of 9, published in 1991 by J. Crouse,
Sarasota, FL
10 D.70.V1, 10 dye transfer prints, edition of 15, published in 1996 by Eggleston
Artistic Trust and PhotoArt GmbH, Hamburg, Germany
10.D.70.V2, 10 dye transfer prints, edition of 15, published in 1996 by Eggleston
Artistic Trust and PhotoArt GmbH, Hamburg, Germany
William Eggleston - Pictures from Eve's Bayou, 6 dye transfer prints, edition of 6,
published in 1998 by Eggleston Artistic Trust in association with Caldecot Chubb
Cadillac, 12 chromogenic color photographs, edition of 15, published in 1999 by
Eggleston Artistic Trust
Los Alamos, 75 dye transfer prints, edition of 7, published in 2002 by Eggleston
Artistic Trust
Dust Bells Volume One, 10 dye transfer prints Edition of 15, published in 2004 by
Eggleston Artistic Trust
Dust Bells Volume Two, 10 dye transfer prints Edition of 15, published in 2004 by
Eggleston Artistic Trust
MONOGRAPHS
William Eggleston's Guide, edited by and with text by John Szarkowski, The
Museum of Modern Art, New York 1976
The Democratic Forest, introduction by Eudora Welty, Secker & Warburg,
London 1989
Faulkner's Mississippi, text by Willie Morris, Oxmoor House, Inc., Birmingham,
Alabama 1990
Ancient and Modern, introduction by Mark Holborn, Random House, New York
1992
Horses and Dogs, essay by Richard B. Woodward, Smithsonian Institution Press,
Washington and London 1994
The Hasselblad Award 1998: William Eggleston, essay by Walter Hopps,
Hasselblad Center, Goteborg, Sweden, 1999
2 and 1/4, text by Bruce Wagner, Twin Palms Publishers, Santa Fe, New Mexico,
1999. Deluxe limited edition of 50 including 1 signed dye transfer print.
William Eggleston, Foundation Cartier, Paris, 2001
Los Alamos, introduction by Walter Hopps, essay by Thomas Weski, Scalo in
collaboration with Museum Ludwig, Zurich - Berlin - New York, 2003
PUBLICATIONS INCLUDING EGGLESTON'S WORK
19th and 20th Century Photographs, ed. Peter Galassi, Lunn Gallery Graphics,
Washington, D.C. 1976
Photography Year 1976, Time-Life Books, New York 1976
Mirrors and Windows: American Photography since 1960, ed. John Szarkowski,
The Museum of Modern Art, New York 1978
A Book of Photographs from the Collection of Sam Wagstaff, Gray Press, New
York and Rochester 1978
American Images, New Works by Twenty Contemporary Photographers, ed.
Renato Danese, New York 1979
The New Color Photography, Sally Eauclaire, Abbeville Press, New York 1981
The Imaginary Photo Museum, by Renate and L. Fritz Gruber, Cologne 1981,
London 1982
Color (revised edition), ed. Time-Life Books, Alexandria 1981
Annie on Camera, Abbeville Press, New York 1982
New Color/New Work, Sally Eauclaire, Abbeville Press, New York 1984
American Images: Photography 1945-1980, edited by Peter Turner and John
Benton-Harris, London 1985
True Stories, David Byrne, Penguin Books, New York and London 1986
American Independents: Eighteen Color Photographers, Sally Eauclaire,
Abbeville Press, New York 1987
54 Master Photographers of 1960-1979, compliments from Cornell Capa,
Photographic Society of Japan, Tokyo 1989
Photography Until Now, John Szarkowski, Museum of Modern Art, New York
1989
Rhythm Oil, Stanley Booth, London and New York 1991
An American Century of Photography, Keith F. Davis, Hallmark Cards, Inc.,
Kansas City 1995
Heimat, Verlag Christian Brandstatter, Vienna 1995
Magische Allianzen: Fotografie und Kunst, Ulf Erdmann Ziegler, Lindinger +
Schmid Verlag GdbR, Regensburg 1996
Photography's Multiple Roles, Museum of Contemporary Photography, Columbia
College, Chicago 1998
Icons of Photography: The 20th Century, ed. Peter Stepan, Prestel, Munich -
London - New York 1999
the desert, Fondation Cartier pour l' art contemporain, Thames & Hudson 2000
The Book of 101 Books: Seminal Photographic Books of the Twentieth Century,
PPP Editions, New York 2001
A Creative Legacy: A History of the National Endowment for the Arts Visual
Artists' Fellowship Program, Harry N. Abrams, New York, 2001
Gift to the Nation, including letters from Presidents George W. Bush and Bill
Clinton, Friends of Art and Preservation in Embassies, Washington, D.C. 2001
Photography Past Forward: Aperture at 50, essay by R.H. Cravens, Aperture
Foundation, Inc., New York, 2002
Ein Bilderbuch, Museum Folkwang, Steidl Verlag, Essen 2003
Collecting Photography, Gerry Badger, Mitchell Beazley, London 2003
Looking At Los Angeles, edited by Marla Hamburg Kennedy and Ben Stiller,
Metropolis Books 2005
EXHIBITION CATALOGUES INCLUDING EGGLESTON'S WORK
14 American Photographers, ed. Renato Danese, The Baltimore Museum of Art,
Baltimore, MD 1975
Election Eve, Corcoran Gallery of Art, Washington, D.C. 1977
Contemporary American Photographic Works, edited by Lewis Baltz, The
Museum of Fine Arts, Houston, TX 1977
Amerikanische Landschaftsphotographie 1869-1978, Munich, Germany 1978
Attitudes: Photography in the 1970's, Fred R. Parker, Santa Barbara Museum of
Art, Santa Barbara, CA 1979
One of a Kind, essay by Eugenia Parry Janis, D.R. Godine, Boston, MA 1979
Photography: A Sense of Order, essay by Janet Kardon, dialogue with John
Gossage and Walter Hopps, Institute of Contemporary Art, University of
Pennsylvania, 1981
Elvis at Graceland, by Ken Brixey and Twyla Dixon, Cypress Press, Memphis,
TN 1983
William Eggleston: Color Photographs from the American South, text by Mark
Haworth-Booth, Victoria and Albert Museum, London, England 1983
Memphis 1948-1958, Memphis Brooks Museum of Art, Memphis, TN 1986
William Eggleston's Early Black and White Photography, text by J. Richard
Gruber, Memphis Brooks Museum of Art, Memphis, 1986
William Eggleston, text by Henning Hansen, Louisiana Museum of Modern Art,
Humlebæk, Denmark, 1992
After Art: Rethinking 150 Years of Photography, Henry Art Gallery, University of
Washington, Seattle 1994
William Eggleston, 213 - Marion de Beaupré, Paris, France 1998
The Desert, Foundation Cartier and Thames & Hudson, New York 2000
Visualizing the Blues, ed. Wendy McDaris, forward by John Grisham, Dixon
Gallery and Gardens, Memphis 2000
How You Look at It, ed. Thomas Weski, Sprengel Museum, Hannover 2000
Open City: Street Photographs Since 1950, ed. Rob Bowman, Museum of
Modern Art Oxford, England 2001
Biennale de Lyon art contemporain, Musee d'Art contemporain de Lyon, Paris
2001
Cruel and Tender: The Real in the Twentieth-Century Photograph, ed. Emma
Dexter and Thomas Weski, Tate Publishing, London 2003
Colour After Klein: Re-thinking Colour in Modern And Contemporary Art, edited
by Jane Alison, Black Dog Publishing 2005
ARTICLES AND ESSAYS ON EGGLESTON'S WORK
Artner, Alan G., ‘Institute Develops Three Photography Shows', Chicago Tribune,
February 4, 1979
Artner, Alan, ‘William Eggleston: Red Ceilings and Green Showerstalls',
Chicago Tribune, May 27, 1984
Aukeman, Anastasia, ‘William Eggleston at Robert Miller', Art in America, April
1994
Bertrand, Anne, ‘William Eggleston: Foundation Cartier', Camera Austria 77,
2002, p.73
Blodgett, Richard, Photographs: A Collector's Guide, New York: Ballantine, 1979,
pp. 12, 20, 116-117
Booth, Stanley, ‘Brilliant Careers: William Eggleston', Salon.com, September 7,
1999.
Callahan, Sean, ‘MoMA Lowers the Color Bar', New York Magazine, June 28,
1976, p. 74-75
Coleman Nicols, Art in America, April 1984
Darwent, Charles, ‘King Crimson', The Independent/Sunday Review (London,
England), November 25, 2001, pp. 10-12, 14
Davis Douglas, ‘Photography', Newsweek, October 21, 1974, pp. 63-70
Davis, Douglas, ‘New Frontiers in Color', Newsweek, April 19, 1976, pp. 56-61
Davis, Douglas, ‘Color Shock', House and Garden, September 1976, pp. 68, 114,
191
Delpire, Robert, ed. ‘Special Photo No. 5', Le Nouvel Observateur, March 1979,
p. 17
Dorment, Richard, ‘Pictures of Emptiness', Daily Telegraph (London, England),
January 9, 2002, p. 22
Eauclaire, Sally, ‘Color Photography as Art - Eggleston Paves Way', Democrat
and Chronicle (Rochester, N.Y), January 22, 1978
Edelson, Michael, ‘MoMA Shows Her Colors', Camera 35, October 1976, pp. 10-
11
Edwards, Owen, ‘William Eggleston's New Clothes', Village Voice, December 12,
1977
Edwards, Owen, ‘Exhibitions. William Eggleston', American Photographer, July
1978
Edwards, Owen, ‘Amazing Graceland', American Photographer, March 1980
Eggleston, William, ‘Food Marke... Cold Drink...', Grand Street 49, 1995
Elliot, David, ‘Photography into Center Ring', Chicago Sun-Times, February 4,
1979
Filler, Martin, ‘Elvis Presley's Graceland: An American Shrine', House & Garden,
March 1984, pp.140-147
Finkel, Claudia, ‘Cautious Curating', The New Art Examiner, Chicago, March
1979
Fondillier, Harvey, ‘Shows We've Seen', Popular Photography, October 1976, pp.
31, 228
Forgey, Benjamin, ‘A Paradox in Color Photos', The Washington Star,
September 21, 1977, pp. B-1, B-2
Forgey, Benjamin, ‘Plains, Georgia, Without Cliche', The Washington Star,
December 12, 1977, p. F-19
Frisinghelli, Christine, ‘William Eggleston: Morals of Vision', Camera Austria 72,
2000, pp.3-13
Grant, Richard, ‘Roving Eye', Telegraph Magazine (London, England), June 29,
2002, pp. 45-50
Grundberg, Andy and Julia Scully, ‘Currents: American Photography Today',
Modern Photography, September 1978, pp. 82-83
Grundberg, Andy, book review of ‘The Democratic Forest', The New York Times,
December 3, 1989
Hagen, Charles, ‘An interview with William Eggleston', Aperture 115, Summer
1989, pp. 40-45, cover
Hagen, Charles, ‘William Eggleston's Reticent Style', The New York Times,
November 12, 1993, p. C29
Harrington, Richard, ‘Graceland: Images of a Fallen King', Washington Post,
December 10, 1983
Harris, Melissa, ed. ‘Everything that Lives, Eats', Aperture 143, Spring 1996,
pp.21-22
Haworth-Booth, Mark, ‘William Eggleston: An Interview', History of Photography,
Spring 1993, pp. 49-53
Haworth-Book, Mark, ‘William Eggleston', British Journal of Photography,
January 13, 1994, p.26
Hedgepath, Ted, ‘Modernist Strategies', Artweek, May 24, 1980, pp. 10-11
Hellman, Roberta and Marvin Hoshino, ‘What Television Has Brought', The
Village Voice, July 5, 1976, pp. 95-96
Holborn, Mark, ‘Color Codes', Aperture 96, Fall 1984, pp. 8-15, cover
Holborn, Mark, ‘William Eggleston: Democracy and Chaos', Artforum, Summer
1988
Hopps, Walter, ‘Los Alamos - A Fragment', Grand Street 36, New York, 1990
Hosch, Alexander, ‘William in Wonderland', Architectural Digest, June 2003, pp.
156-163, 189
Howell, John, ‘Sight Unseen in Plain Sight', Aperture 165, Winter 2001, pp. 1-19,
cover
Jones, Malcolm, ‘Translating Ideas into Color', Newsweek, January 1, 1990, p.
59
Jordan, Bill, ‘Eggleston at MoMA', Photograph, Summer 1976, pp. 12, 26
Jordan, Bill, ‘Three Vizards at Odds: New York Color', Afterimage, February 1978
Kernan, Nathan, ‘William Eggleston's Democratic Photography: The Los Alamos
Project', Art on Paper, November/December 2001, pp.64-69
Kozloff, Max ‘How to Mystify Color Photography', Artforum, November 1976, pp.
50-51
Kramer, Hilton, ‘Art: Focus on Photo Shows', New York Times, May 28, 1976
Kroner, Magdalena, ‘William Eggleston: Los Alamos', Camera Austria 82, 2003,
pp.78-79
Lanou, Toby, ‘Eggleston: He Rallies a New Art Tendency', What's Up in Art, p. 1
Laubert, Amy, ‘William Eggleston', New Art Examiner, March 1984
Lewis, Jim, ‘The Condition of Music', Frieze, May 2000, pp. 80-85
Lunn Gallery, The Quality of Presence, Washington, D.C. 1978, p. 23
Malcolm, Janet, ‘Photography. Color', The New Yorker, October 10, 1977, pp.
107-111
Malcolm, Janet, ‘Color', Diana & Nikon: Essays on the Aesthetics of Photography
(Boston, MA), 1980, pp. 86-95
Marcus, Greil, ‘View of Graceland and The Absence of Elvis', Artforum, March
1984, pp. 70-72
McKenna, Kristine, ‘Soaking Up the Local Color', Los Angeles Times, June 5,
1994
Meinwald, Dan, ‘Reviews: Color Me MoMA', Afterimage, September 1976, p. 18
Moos, David, ‘The Eggleston Effect', Artext, August-October 2001, p.58-63
Murray, Joan, ‘The Colors of William Eggleston', Artweek (Oakland, California),
September 18, 1976, pp. 11-12
Northrop, Guy, ‘Learning to Look at Eggleston's Photos', Commercial Appeal,
Memphis, Tennessee, February 20, 1977, p. 14
Oddy, Jason, ‘A Democratic Eye', Modern Painters, Autumn 2002, p.86-89
Owens, Don, pub. Picture Magazine, 1978, p. 1-2
Perry, Tony, ‘Eggleston Mirrors Urban Life', The Age (Melbourne, Australia),
1979
Porter, Allan, ‘The Second Generation of Color Photographers', Camera
(Lucerne, Switzerland), July 1977, p. 15, 19
Preston, Malcolm, ‘Photographed Silence', Newsday (Long Island, New York),
June 10, 1976
Rathbone, Belinda, ed., and Eugenia Parry Janis, One of a Kind, D.R. Godine,
Boston, 1979, pp. 13, 34, 35, 72, 76
Rice, Shelley, ‘Eggleston's Guide to the South', SoHo Weekly News (New York),
June 17, 1976, p. 29
Richard, Paul, ‘Galleries', The Washington Post, September 17, 1977, p. C-1
Sampson, Tim, ‘Eggle Eye', Memphis Magazine, March 1994
Schwerfel, Heinz Peter, ‘Unter der Oberflache Brodelt das Verhangnis', Art
(Hamburg, Germany), February 1998, pp. 58-67
Scully, Julia, ‘Seeing Pictures', Modern Photography, August 1976, pp. 26-36
Seigel, Larry, (Review), Photo Review, Midtown Y Gallery, New York, June 15,
1976, p. 1
Sembach, Klaus-Jurgen, Amerikanische Landschaftsphotographie, Die Neue
Sammlung (Munich, Germany), 1978, pp. 47, 49
Sischy, Ingrid, ‘Matters of Record', Artforum, February 1983, pp.44-49, cover
Soutif, Daniel, ‘William Eggleston' (Foundation Cartier review), ArtForum, April
2002
Szarkowski, John, ‘Photography: A Different Kind of Art', New York Times
Magazine, April 13, 1975, cover
Szarkowski, John, William Eggleston's Guide, The Museum of Modern Art, New
York, 1976
Szarkowski, John, ‘Choice: A Gallery without Walls', Camera, vol. 55, no. 11,
November 1976, pp. 12-19, cover
Szarkowski, John, Mirrors and Windows: American Photography Since 1960,
The Museum of Modern Art, New York, 1978, pp. 25, 116-117
Tartt, Donna, untitled introductory essay, ‘Portfolio: William Eggleston', Artforum,
October 2001, pp. 135-139
Thomas, Bill, ‘New Photos of Graceland Show a King's Own Rooms', Baltimore
Sun, December 23, 1983
Thompson, Carol, ‘William Eggleston: Seen & Unseen', The Print Collector's
Newsletter, vol. xxi-5, November/December 1990
Thornton, Gene, Masters of the Camera, Ridge Press, New York, 1976, p. 25,
pp. 229-233
Thornton, Gene, ‘New Color Photography is a Blurry Form of Art', New York
Times, July 17, 1977
Thornton, Gene, ‘New Photography: Turning Traditional Standards Upside
Down', ART-news, April 1978
Tighe, Mary Ann, and Elizabeth Lang, Art America, McGraw-Hill, New York,
1977, pp. 332-333
Trachtenberg, Alan, Peter Neill, and Peter Bunnel, eds., The City, Oxford
University Press, New York, 1971, pp. 519, 616
Uno, Yoshihiko, ed., Camera Mainichi, Tokyo, December 1974, p. 54-62, cover
Upton, Barbara and John, eds., Photography, Little Brown, Boston, MA, 1976
Walker Art Gallery, 23 Photographers 23 Directions, Liverpool, 1978, pp. 10-11,
46-47
Weiermair, Peter, ‘Photographie Als Kunst 1879 - 1979', Allerheiligenpresse,
Innsbruck, Austria 1980, p. 510-511
Williams, Hugo, ‘A Clicking Machine in the South', Times Literary Supplement,
March 1992
Witkin, Lee, and Barbara London, The Photograph Collector's Guide, New York
Graphic Society, Boston, MA, 1979, pp. 27, 129-130, 283
Woodward, Richard, ‘Memphis Beau', Vanity Fair, October 1991, p.215-220, 238,
240, 242-244, 246
Woodward, Richard, ‘Venus DeSoto: William Eggleston's Automotive Art', New
York Times, July 23, 2003, p. 27
Zelevansky, Lynn, ‘William Eggleston, Charles Cowles Gallery', FlashArt (Milan),
January/February 1981
Ziegler, Ulf Erdmann, ‘Schmiegt sich an: William Eggleston', Magische Allianzen:
Fotografie und Kunst, Lindinger + Schmid Verlag GdbR, Regensburg, 1996, pp.
184-194
Zimmer, William, ‘William Eggleston', Arts, March 1978
Zorn Caputo, Kim, ed. ‘William Eggleston', Blind Spot 2, 1993, pp.50-53
Zorn Caputo, Kim, ed. ‘William Eggleston', Blind Spot 9, 1997, pp.20-23
Zorn Caputo, Kim, ed. ‘William Eggleston', Blind Spot 19, 2001, pp.2, 4-11, cover
No author cited: ‘William Eggleston: Democratic Forest 1984/85', Camera Austria
22, 1987, pp. 11-16
No author cited: ‘William Eggleston. Wilful', The Economist, October 3, 1992
No author cited: ‘The Lot', New York Times Magazine, November 12, 2000,
pp.84-85
No author cited: ‘Portfolio: In Country', New Times Magazine, October 20, 2002,
pp. 10, 45-54
No author cited: ‘Photographs by William Eggleston', The Oxford American,
December 1995/January 1996
The Time-Life Editors, ‘The Commonplace in Living Color', Photography Year
1976, New York, NY, 1976
SELECTED PUBLIC COLLECTIONS
Arkansas Art Center, Little Rock, AR
Art Institute of Chicago, Chicago, IL
Baltimore Museum of Art, Baltimore, MD
Birmingham Museum of Art, Alabama, LA
Brooks Memorial Art Gallery, Memphis, TN
Corcoran Gallery of Art, Washington, D.C.
DeCordova Museum, Lincoln, MA
Foundation Cartier, Paris, France
Greenville County Museum of Art, SC
Hasselblad Center, Gothenburg, Sweden
High Museum of Art, Atlanta, GA
J. Paul Getty Museum, Los Angeles, CA
Madison Art Center, Madison, WI
Maier Museum of Art, Randolph Macon Women's College, Lynchburg, VA
Menil Collection, Houston, TX
Memphis Brooks Museum of Art, Memphis, TN
Metropolitan Museum of Art, New York, NY
Morris Museum, Augusta, GA
Museum Folkwang, Essen, Germany
Museum of Fine Arts, Houston, TX
Museum Ludwig, Cologne, Germany
Museum of Modern Art, New York, NY
Museum of Modern Art, San Francisco, CA
National Gallery of Art, Washington, D.C.
National Museum of American Art, Smithsonian Institute, Washington, D.C.
New Orleans Museum of Art, New Orleans, LA
Southern Texas Museum, Austin, TX
Sprengel Museum Hannover, Hannover, Germany
Tennessee State Museum, Nashville, TN
Tokyo Metropolitan Museum of Photography, Tokyo, Japan
Whitney Museum of American Art, New York, NY
Victoria and Albert Museum, London, England