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Mr. R. Franks (Hull, UK)
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American Independents: Eighteen Colour Photographers
American Independents: Eighteen Colour Photographers
by Sally Eauclaire
Edition: Hardcover

1 of 1 people found the following review helpful
5.0 out of 5 stars You should own this book unless..., 6 Feb. 2010
You should own this book if you have any interest in great photography unless you believe that colour has no place in artistic photographic expression and no great work has been produced since Ansel Adams and co.

Whereas Adams and co. saw America as a majestic land given, by god, to the white man, the eighteen photographers featured here look to a more real America; usually the crass, kitsch and mundane but at the same time unique, quirky and extraordinary.

This is the third book in a series by Sally Eauclaire, looking at the "new color" photography that emerged in the States in the early `70s, and while it could never be as groundbreaking as the first (The New Color Photography), it contains an equally exciting and enthralling selection of images.

The book contains a short introduction and two or three pages of text on each photographer, as well as biographical details. My only criticism would be of the writer's tendency to over-read the images and over-interpret the photographers' intentions and photographic devices. (You may also want a dictionary readily to hand!)

But the most important part of any photography book are, of course, the pictures which are reproduced to a very high quality and are from the following photographers:

Larry Babis - 9 images of " random, surreal, funny, mock apocalyptic adventures".
Jim Dow - 10 images of barrooms, diners and hotel lobbies.
William Eggleston - 12 images from the "Democratic Forest" series. Only 2 of these appear in the book of the same name.
Mitch Epstein - 10 images from coastal holiday locations.
David T. Hanson - 9 images of Colstrip mine and power plant, Montana.
John Harding - 8 images - street photography.
Len Jenshel - 11 images of mostly national parks.
Nancy Lloyd - 8 images of Easton and Bethlehem, Pennsylvania.
Kenneth McGowan - 8 images - "The God Pictures".
Roger Mertin - 10 images of sesquicentennial celebrations, Rochester NY.
Joel Meyerowitz - 9 images - street photos from `60s and `70s.
Richard Misrach - 8 images of desert fires. None of these appear in "Desert Cantos" or "Crimes and Splendours".
Joanne Mulberg - 8 images of drag queens.
Stephen Scheer - 10 images from Texas.
Stephen Shore - 8 images of the Hudson Valley.
Joel Sternfeld - 9 images of Alaska. 3 of these appear in the original "American Prospects".
Jack D. Teemer - 8 images of backyards. (My favourites.)
Daniel S. Williams - 8 images of "Emancipation Day"


William Eggleston. Die frühen Farbfotografien (1965-1976). Ästhetische Positionen und hermeneutische Verfahren im Blick auf analoge Konzeptionen in Malerei, Literatur und Film
William Eggleston. Die frühen Farbfotografien (1965-1976). Ästhetische Positionen und hermeneutische Verfahren im Blick auf analoge Konzeptionen in Malerei, Literatur und Film
by Susanna Ott
Edition: Paperback

2.0 out of 5 stars German speakers only, 15 Jan. 2010
You need to be aware that this book contains only a handful of small, poorly reproduced images. The rest is text in German so unless you are fluent in this language (or an Eggleston obsessive) this is one to avoid.


William Eggleston: Democratic Camera; Photographs and Video, 1958-2008 (Whitney Museum of American Art)
William Eggleston: Democratic Camera; Photographs and Video, 1958-2008 (Whitney Museum of American Art)
by Elisabeth Sussman
Edition: Hardcover

5 of 5 people found the following review helpful
5.0 out of 5 stars One of the Best, 15 Jan. 2010
If you don't already own any Eggleston this is an ideal starting point.Containing well over 200 well reproduced images, it gives a comprehensive view of the photographers carreer, from early black and white through experimental video to the all important colour work.
If you don't already know, Eggleston was the most important figure in establishing colour as a valid medium in the art photography genre and anyone working in this field today who denies his influence is probably lying.
There are also five well written and informative essays on various aspects of Eggleston's practice and influence that manage to avoid the common pitfalls that often plague serious writing on photography - they are neither too long nor are they the sort of dry academia often produced by writers whose main purpose is to show how clever they are.
As with all photography monographs, the most important part is the photographs. I have seen the majority of these images published elsewhere but there are still a significant number that are new to me (I already have a large collection of his work). So if you already own some Eggleston there should still be something new for you (and,of course, the essays)and if you are new to his work, as I have already said, I cannot recommend a better starting point.


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