The Art of Looking: William Eggleston’s Photography
Understanding William Eggleston’s Mysterious Photographs
Introduction
I am at war with the obvious. — William Eggleston
Photographs embody a rebellious spirit, capture local nuances, narrate personal stories, freeze intimate moments, evoke romantic ideals, present self-focused viewpoints, embody sentiments against the establishment, and radiate an antisocial atmosphere.
I discovered that the true value of William Eggleston’s photographs lies in the act of looking and enjoying, rather than searching for specific meanings. By letting go of the need for clear significance, I developed a serene appreciation for the images.
Eggleston’s photographs gained a genuine impact by abandoning the search for inherent meaning, creating a paradox. Liberated from a predetermined narrative, they evolved into a canvas for individual interpretation, fostering a profound connection beyond traditional meaning-seeking.
This underscores that enjoying art often occurs when one looks at things freely without too many rules. Letting go of the demand for a clear meaning allows for the formation of a profound connection with Eggleston’s art, leading to a more personal and meaningful bond.
Eggleston’s Artistic Identity
Eggleston, the photographer known for his mysterious aura, takes a different path when discussing his work. Instead of following the usual discussions, he delves into introspection. His sense of being an outsider during his student days, coupled with the label strange given by John Szarkowski, forms the basis of Eggleston’s introverted artistic identity. Through his photographs, characterized by quiet simplicity, he communicates a profound message with a silent power that goes beyond traditional dialogues, creating a distinctive narrative in the art world.
Eggleston stands out for his unconventional and mysterious work, challenging established norms. His straightforward and unpretentious photographs, focused on the concept of nothing, prompt questions about their value. Alongside photographers like Robert Adams, he excels in capturing the essence of everything through a subtractive rather than additive approach. This involves presenting ordinary elements in a manner that challenges and transcends the usual expectations in photography.
Eggleston’s enigmatic style crafts a distinctive narrative through quietly powerful photographs, challenging norms, and prompting contemplation on simplicity and the essence of everything.
Eggleston once suggested that the subject matter in photographs is merely an excuse for capturing a colored image, akin to the Edgar Degas attitude. While I don’t fully endorse this perspective, I can see how adopting or simulating such a mindset might prove advantageous for him.
Film Exploration — ‘William Eggleston in the Real World’
Michael Almereyda directs the impactful film William Eggleston in the Real World, providing an intimate glimpse into the daily life and artistic journey of the renowned photographer William Eggleston. The documentary explores Eggleston’s personal life, artistic process, and the significance of family. It reveals how Eggleston, in his everyday life, transforms ordinary moments into extraordinary art. The film leaves viewers with the impression that hidden beauties lie in the details of the mundane, portraying Eggleston’s simplicity as a modest cover for the richness within him.
Evolution of Eggleston’s Photography
Eggleston initiated his photographic journey at 18, citing Cartier-Bresson’s work as a major influence. For the first eight years, he predominantly explored black-and-white photography, displaying no particular interest in color. However, in 1965, Eggleston ventured into color photography for the first time. It’s essential to highlight that the introduction of color did not bring about substantial changes in the overall composition or specific perspectives of his images. Instead, color served to intensify these elements in his photographs.
Eggleston intensified his unique perspective by shifting to color photography, extending objects beyond the frame.
In certain photographs, Eggleston’s unique perspective gives the illusion of objects extending beyond the frame. His photographs rarely include direct, face-to-face shots of objects, resulting in a lack of spatial depth and a narrowed perspective. This contributes to an unusual and sometimes overwhelming presence of the objects as if the viewer is under the influence of a mind-altering substance. Overall, these elements intensify the viewer’s fresh encounter with objects.
Eggleston intensified his photographs by adopting Kodak’s costly dye transfer printing process in 1976. This method, initially designed for advertising, granted him meticulous control over color concentration. Despite its complexity, Eggleston couldn’t execute it himself; only specialized printing experts could carry out the process.
Despite its time-consuming and costly nature, this printing method crucially enabled Eggleston to precisely control each color, resulting in the successful printing of his iconic photograph, The Red Ceiling. The profound concentration and intensity of the red color in this image may only be comparable to Henri Matisse’s painting, The Red Studio.
Artistic Approach and Influence
Despite the technical aspects evident in Eggleston’s photography, there are moments when his photographs take on a down-to-earth appearance, akin to family snapshots captured during a trip. John Szarkowsky notes that Eggleston presents his images not in a typical social documentary style but as if they are pages from a scrapbook.
Eggleston’s photography departs from the traditional documentary style and instead embraces a family snapshot aesthetic.
Eggleston’s exposure to amateur and candid photography can be attributed to the period he spent working in the color lab of a friend. Reflecting on this experience, he explains, “During that time, I had a close friend who operated a color lab, generating numerous amateur snapshots. Despite lacking artistic inclinations, he provided me with many great ideas. He could render reels of film, reminiscent of those from people’s honeymoons years ago, into a presentable and beautiful form. I took pleasure in spending time with him, still hold affection for him, and was deeply engrossed in observing the outcomes produced by the machine.”
Eggleston, often called Mr. Democrat by critics, approaches photography without assigning value. His impartial eye captures diverse scenes without a specific agenda. He applies a unique photographic gaze rather than chasing photogenic subjects. He likes quiet places and doesn’t want to look like a stranger. He wants people to see his work without the influence of his personality.
Despite Eggleston’s extensive travels to countries like Germany, China, Kenya, and more, as seen in collections like Democratic Forest, the photographs often showcase enclosed frames of objects and places. Notably, they lack a sociological perspective and do not depict the indigenous people of those countries. Eggleston has acknowledged that some of these photographs were taken from inside a moving car.
Legacy and Conclusion
Eggleston’s photography holds a lasting presence in the history of photography. With a unique perspective, he demonstrated that nearly anything can be a compelling subject. His collection features abstract and intricate images, sometimes leaving viewers puzzled. Despite lacking specific meaning or information, these photographs captivate attention, defying verbal expression. According to Eggleston, “Words and pictures don’t — They’re like two different animals. They don’t particularly like each other.” He avoids discussing specific themes or conceptualizations, asserting that his work eludes expression through words.
