First edition, first printing. Hardcover. Custom black leatherette covered heavy board portfolio with title stamped in white on cover; no dust jacket as issued. Photographs by William Eggleston. Introduction by William Eggleston III. Essay by Mark Holborn. The portfolio contains two sewn-bound folios (one with 10 vertically oriented plates and the introduction, another contains 27 horizontally oriented plates), and an illustrated 16pp. booklet with an essay by Mark Holborn. Designed by Goto Design, New York. Unpaginated, with 37 large four-color plates beautifully printed on heavy matte paper by The Avery Group at Shapco Printing, Minneapolis, from separations by VS + Company, New York. 14-1/2 x 10 inches. Published on the occasion of an exhibition at Gagosian Gallery, Beverly Hills, California.
A gorgeous distillation of Eggleston's Los Alamos work, this edition brings the artist's signature color, composition and subject matter to the viewer in an intimate and luxurious presentation.
From the artist: "I just wait until [my subject] appears, which is often where I happen to be. Might be something right across the street. Might be something on down the road. And I'm usually very pleased when I get the image back. It's usually exactly what I saw. I don't have any favorites. Every picture is equal but different."
From Gagosian Gallery: "Gagosian Gallery is pleased to present an exhibition of photographs from William Eggleston's Los Alamos series. This will be Eggleston's first solo exhibition in Los Angeles since 2004. A Memphis native, Eggleston carved his distinct oeuvre from the immediate world around him, incorporating all shades of life into his vivid photographs and thus pioneering an approach that derives its power from a refined form of spontaneous observation. A modern-day flâneur, he captures compelling fragments, events, and personalities of the ordinary world on the streets and in the parlors of small-town America. His subject matter, such as parked cars, billboards and abandoned storefronts, are seemingly banal, yet the idiosyncratic manner in which he orders his observations creates a world of enigma and unexpected beauty, unflinching in its veracity. This exhibition comprises twenty-eight large-scale pigment images from the Los Alamos series, printed from vintage negatives. Some images were first printed in the early 2000s as dye transfers. Others have never been seen before. Eggleston shot them on the road between 1966 and 1974 in the Mississippi Delta, New Orleans, Las Vegas, Los Angeles, Los Alamos, and other locations across the United States, naming the Los Alamos series after the laboratory where atomic weapons were developed. In the intimate portraiture and stark landscapes, the profound influence of his aesthetic on contemporary image-making is plain. His self-professed 'democratic camera' seeks out spontaneous moments of aesthetic exception--a neon light glowing piercingly in a darkened motel room; the back of a smooth, perfectly arranged grey updo; a collection of dolls; a gawky young man pumping gas. Tightly cropped and condensed, each object or subject assumes a narrative life of its own, charged with mystery and possibility. Geographically non-specific and seemingly timeless, the freedom and congeniality of these loosely framed portraits is a hallmark of Eggleston's working style--emanations of a steadfastly egalitarian vision and a poetic eye. Eggleston is largely credited with legitimizing color photography as a fine art form. More than a century after the advent of color film and a decade after popular media fused with contemporary art, his first museum exhibition at the Museum of Modern Art, New York in 1976, was also the first fine-art exhibition of color photography. Some thirty-five years after this historic moment, he continues to innovate in the photographic medium. The vibrant and exquisite dye-transfer process, that became a hallmark of his oeuvre, has limitations predicated on the size of available photographic paper. In recent years, advances in digital printing have allowed Eggleston to create his images on a much larger scale--44 x 60 inches--while equaling and even surpassing the quality of color saturation previously available only to the dye-transfer process."