(*) No MP but the photo of William Eggleston , or at least the title of the retrospective exhibition of his work takes place at the Corcoran Gallery . The democratic character comes from its work plan, based to address both issues as objects with absolute "equality", ie, neutrality and the same care and technique for them. Neutrality is characterized by its subordination to the environment and is intended to reflect prior and external to the photographer and thus owned and reconocibl and for all. Hence the picture is not engaged or, rather, that in the few that makes the fig ture and faces are common objects in that landscape, as interchangeable as the main street, the diners, shops and everyday scenes of people it portrays. For the portrait, especially the power, already Richard Avedon.
sign in daily life as democratic, equalizing factor of the characters, places, objects, advertisements and symbols that make it up, where it develops Eggleston. Common sight everyday as two generations, their contemporaries, and so constant that is tradition. It is no coincidence that declared his lack of interest in Elvis Presley, once it has completed the commissioning of the Rolling Stone magazine about her figure, but instead portrays furniture, curtains and mirrors, corners of his house looking for symmetries in which the viewer can recognize the same house and same taste. Kitsch aesthetics equals that of any other house of his countrymen. Democracy also appears on the stability and absence of tragedy and epic that defines the landscape and how (it) is of the everyday. The root of its emphasis on normality and usually is in the images of his childhood and youth, taken from their environment, villages and small towns in Tennessee, Mississippi Delta and the South in general. Soon he wanted a democratic endorsement of his work to find a wider audience, turning to color and definitely enthusiastic, and using a technique (print dye-transfer ) that highlights the colors to get a hyper effect. The strength of color and the urban landscape as a neon sign in the viewer's memory. But these operations are never really as perfect as they are counted and Eggleston knew his work and experience of the public on a common landscape bordered with the same dreams, which are perverted, frustrated or made and individually.
sign in daily life as democratic, equalizing factor of the characters, places, objects, advertisements and symbols that make it up, where it develops Eggleston. Common sight everyday as two generations, their contemporaries, and so constant that is tradition. It is no coincidence that declared his lack of interest in Elvis Presley, once it has completed the commissioning of the Rolling Stone magazine about her figure, but instead portrays furniture, curtains and mirrors, corners of his house looking for symmetries in which the viewer can recognize the same house and same taste. Kitsch aesthetics equals that of any other house of his countrymen. Democracy also appears on the stability and absence of tragedy and epic that defines the landscape and how (it) is of the everyday. The root of its emphasis on normality and usually is in the images of his childhood and youth, taken from their environment, villages and small towns in Tennessee, Mississippi Delta and the South in general. Soon he wanted a democratic endorsement of his work to find a wider audience, turning to color and definitely enthusiastic, and using a technique (print dye-transfer ) that highlights the colors to get a hyper effect. The strength of color and the urban landscape as a neon sign in the viewer's memory. But these operations are never really as perfect as they are counted and Eggleston knew his work and experience of the public on a common landscape bordered with the same dreams, which are perverted, frustrated or made and individually.
(*) Nickjournal Published September 4, 2009 .
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