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威廉．艾格斯頓
《塵鐘 卷二》
- 估價
- $80,000 - 120,000
$139,700
拍品詳情
孟菲斯：攝影師信託基金（2004年）
10組染料轉印（2003-2004年印）
10組染料轉印（2003-2004年印）
1965-1974年作
每組圖像 12 x 17 5/8 英吋（30.5 x 44.8 公分）
每組紙本 15 7/8 x 19 7/8 英吋（40.3 x 50.5 公分）
每組紙本 15 7/8 x 19 7/8 英吋（40.3 x 50.5 公分）
款識：簽名（每組邊緣）
鈴印：攝影師信託基金版權信用、複印限制（每組邊緣）
共有15版與4版藝術家試作版，此作為印刷商試作版，附有標題頁、圖版目錄和版權頁，註明「PP」，存於黑色文件夾。
鈴印：攝影師信託基金版權信用、複印限制（每組邊緣）
共有15版與4版藝術家試作版，此作為印刷商試作版，附有標題頁、圖版目錄和版權頁，註明「PP」，存於黑色文件夾。
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完整圖錄內容
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威廉．艾格斯頓
American | 1939William 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.
瀏覽藝術家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.