Photo
William Eggleston →
Reblogged from Magnificent Ruin
Link

of the Pioneers of Color exhibition in New York

Thanks Bryan

Photo
Pioneers of Color
a must-see at the Edwynn Houk Gallery in New York features the work of three of the great early practioners of color street shooting, Stephen Shore, William Eggleston and Joel Meyerowitz.
Don’t miss Artist Joel Meyerowitz and curator Kevin Moore in conversation Saturday, March 6, 3:00PM
Kevin Moore, curator of Starburst: Color Photography in America 1970-1980 currently on exhibition at the Cincinnati Art Museum.
Read more on The Crusade For Color Photography
JM Colberg’s review of Starburst: Color Photography in America
via aNYlife

Pioneers of Color

a must-see at the Edwynn Houk Gallery in New York features the work of three of the great early practioners of color street shooting, Stephen Shore, William Eggleston and Joel Meyerowitz.

Don’t miss Artist Joel Meyerowitz and curator Kevin Moore in conversation Saturday, March 6, 3:00PM

Kevin Moore, curator of Starburst: Color Photography in America 1970-1980 currently on exhibition at the Cincinnati Art Museum.

Read more on The Crusade For Color Photography

JM Colberg’s review of Starburst: Color Photography in America

via aNYlife

Photo
William Eggleston in His Music Room, Memphis 2000
Alec Soth spricht von Interaktion in einer Begegnung und als Ergebnis dieser Begegnung das Foto als Dokument.
Auf Youtube  Alec Soth über seine Portraits; Alec Soth: Portraits anderseits definiert er ein Portrait auch als “A picture of the space between us” - Alec Soth: Portraits - The Ground Glass
Bryan Schutmaat:

Alec Soth’s photograph of William Eggleston reminds me a lot of the kind of compositions often seen in Yasujiro Ozu movies. (I mention this in an attempt to be thematic, as I’ve recently referenced Ozu and posted a portrait of Eggleston.) Though I’m sure Eggleston’s Memphis home isn’t influenced by Japanese architecture, the altitude of the camera, the concentration on the floor, the door in the foreground, and the height of his keyboard evoke an Eastern feeling.

William Eggleston in His Music Room, Memphis 2000

Alec Soth spricht von Interaktion in einer Begegnung und als Ergebnis dieser Begegnung das Foto als Dokument.

Auf Youtube Alec Soth über seine Portraits; Alec Soth: Portraits anderseits definiert er ein Portrait auch als “A picture of the space between us” - Alec Soth: Portraits - The Ground Glass

Bryan Schutmaat:

Alec Soth’s photograph of William Eggleston reminds me a lot of the kind of compositions often seen in Yasujiro Ozu movies. (I mention this in an attempt to be thematic, as I’ve recently referenced Ozu and posted a portrait of Eggleston.) Though I’m sure Eggleston’s Memphis home isn’t influenced by Japanese architecture, the altitude of the camera, the concentration on the floor, the door in the foreground, and the height of his keyboard evoke an Eastern feeling.