'I had this notion of what I called a democratic way of looking around: that nothing was more important or less important.' William Eggleston
The American artist William Eggleston is considered to be one of the most idiosyncratic photographers of the 20th century. This comprehensive retrospective follows his artistic development from his early black-and-white images and pioneering transition to colour photography up to the present day.
Eggleston's early pictures were black-and-white - rough, sketch-like photographs, which appeared as if the artist had captured the image only crudely and consciously, and included all the unforeseeable and randomness of the situation. Everything that happens in front of the camera is worthy of becoming a picture for Eggleston, no matter how seemingly circumstantial or trivial. Eggleston finds his motifs in the everyday life: supermarkets, bars or petrol stations, a polished car or a filled freezer compartment - the photographer points his 'democratic camera' at everything; nothing is 'more or less important'.
In the mid-1960s, Eggleston began consistently to take photos in colour, heralding the era of colour photography in art. He became famous with his solo show at the Museum of Modern Art, New York, in 1976. His snapshot aesthetic and subjective application of colour, however, was considered so odd by the audience that the exhibition was deemed 'most hated show of the year'. In the following years, Eggleston evolved to being a pioneer of colour photography and influenced a younger generation of photographers with his pictures. Amongst film directors he also enjoys cult status even today.
Several of his images have become icons for contemporary photography - for example, 'Greenwood, Mississippi' (1973), a light bulb hanging from the ceiling of a room painted blood-red, which, like many of Eggleston's pictures was photographed from an unusual angle.
This exhibition includes 180 photographs by the artist, as well as 'Stranded in Canton', a video portrait that developed from fragments taken between 1973 to 1974 and that was reassembled into a narrative structure by the filmmaker Robert Gordon.
William Eggleston
Until 17 May
Haus der Kunst
Prinzregentenstr. 1
80538 München
T +49 (0)89 2112 7113
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