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  • Provenance

    Gagosian Gallery, New York

  • Literature

    Steidl, Los Alamos revisted (Volume 2), p. 15

  • Catalogue Essay

    With its crimson angularity splashing across the foreground, William Eggleston's bold and dynamic Untitled, 1971-1974 can only truly exist in color. Although influenced by the legendary street photographers Robert Frank and Henri Cartier-Bresson, Eggleston chose to break away from traditional black and white photography, and began experimenting with color in the late 1960s. At that time, critics, the public, and many photographers, associated color photography with the commercial rather than fine art. None of this deterred Eggleston, whose highly saturated, vivid images of the southern United States are now held in universal regard.

    Eggleston shows us that there is nothing more elaborate or beautiful than the rich, material complexity of the unassuming everyday built environment. In Untitled, 1971-1974, bold colors, shapes, and planes intersect and repeat, forming a dynamic, almost Kandinsky-like Modernist composition from the not uncommon scene on the American highway system—police and bystanders congregated around a minor car accident. Rather than taking a photo-journalistic stance, Eggleston stands away from the scene on the distant overpass, eschewing any details that might provide circumstantial context, creating instead, a vivid study of color and form. In the present lot’s striking, large-scale presentation, we experience the full force and brilliance of Eggleston’s arresting composition.

    Like many of Eggleston's photographs, the present lot is both semi-dislocated in time and space, providing the viewer with little hints to the specifics of the moment or location where the image was taken. Untitled, 1971-1974 comes from Eggleston's expansive series, Los Alamos. Named after the nuclear testing site in New Mexico, Los Alamos consists of images taken between 1966-1974 across the southern United States, from New Orleans to Santa Monica. A specific and evocative title for a sweeping series composed of distinctive places, people and moments, Los Alamos, like much of the American landscape, is a site for creation and destruction, and for William Eggleston, a place for endless experimentation and study.

  • Artist Biography

    William Eggleston

    American • 1939

    William Eggleston's highly saturated, vivid images, predominantly capturing the American South, highlight the beauty and lush diversity in the unassuming everyday. Although influenced by legends of street photography Robert Frank and Henri Cartier-Bresson, Eggleston broke away from traditional black and white photography and started experimenting with color in the late 1960s.

    At the time, color photography was widely associated with the commercial rather than fine art — something that Eggleston sought to change. His 1976 exhibition at the Museum of Modern Art, Color Photographs, fundamentally shifted how color photography was viewed within an art context, ushering in institutional acceptance and helping to ensure Eggleston's significant legacy in the history of photography.

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290

Untitled

1971-1974
Pigment print, printed later.
38 x 57 7/8 in. (96.5 x 147 cm)
Overall 45 x 64 7/8 x 2 1/4 in. (114.3 x 164.8 x 5.7 cm)

Signed in ink by the artist, titled, dated, numbered 1/2 in an unidentified hand in pencil, printed Eggleston Artistic Trust copyright credit reproduction limitation on a label affixed to the reverse of the flush-mount.

Estimate
$70,000 - 90,000 

Sold for $137,500

Contact Specialist
Sarah Krueger
Head of Department, Photographs

Vanessa Hallett
Worldwide Head of Photographs and Deputy Chairman, Americas

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Photographs

New York 3 October 2017