A pioneer of color photography (sometimes even referred to as “the godfather” of color photography), William Eggleston is, for many, synonymous with photographs that evocatively capture the mundane, trivial, and everyday. In the 1960s and 70s, at a time when color photography was largely associated with commercial advertising, Eggleston managed to elevate it into a fine-art form.
Born and raised in Tennessee, Eggleston largely focused his attention on the rural South but has traveled across the United States documenting post-war American life and culture. His compositions are unmistakable—they embody a slowness and stillness that, despite the certainty suggested by their documentary quality, grows more complex and complicated over time. Landscapes, buildings, signage, trash, restaurants, the contents of a freezer or oven—all is fair game for Eggleston. Peter Schjeldahl once wrote that to view Eggleston’s work was to be “pummeled by eccentric beauty, and to wonder about it.”
Untitled (Louisiana) is an exemplary work in this regard. Its geometry, framing, lavish color, light, and shadow are quintessential Eggleston. Taken from the neutral vantage point of a restaurant tabletop, the image focuses our gaze on an unlikely cast of characters: a few scattered menus, hot sauce, salt, pepper, and a Winston cigarette lighter. Other details we might also overlook, like the poor paint job or stack of napkins in the background, are hard to ignore. Contrary to the relative emptiness of the photograph, there is an overwhelming amount of visual information to absorb.
In today’s rich media landscape, such moments of stillness are increasingly hard to find. And while our smartphones have turned us all into amateur photographers, sharing everyday observations and experiences on social media, how many of us really sit with an image we find scrolling through our feeds, taking the time to dissect and analyze the story being shared—to wonder about it?
– Elisabeth Smith, Collections Coordinator