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William Eggleston is synonymous with color photography--or so we think. But the man who almost single-handedly established color photography in the art world with his 1976 Museum of Modern Art exhibition, William Eggleston's Guide, started out as a black-and-white photographer. It was in the early 1960s that Eggleston first took to the camera, after discovering the work of Walker Evans and Henri Cartier-Bresson, and it was their black-and-white aesthetic that opened his lens. Precolor presents Eggleston's never-before published black-and-white work, a roadmap for his later hyper-saturated color oeuvre.
Eggleston's passion for everyday life, for the uncanny beauty of the mundane, is already evident in his black-and-white photographs. Whether it's a stack of metal chairs, a man at a pay phone, a child perched on a tree, or a teenager on a street corner--Eggleston captures them all with an off-hand elegance, casually endowing the most seemingly insignificant glimpses of life with substance and urgency. This astonishing exhibition simultaneously reshapes and confirms William Eggleston's claim to greatness. --Roberta Smith, reviewing "Precolor," The New York Times
So how does the photographer most identified with the acceptance of color in the 1970s look in black-and-white? Pretty damn good... --Vince Aletti, Village Voice
Hardcover, 8 x 10 in. / 224 pgs / 115 tritones.