Phillip-Lorca DiCorcia and his Rorschach-like pictures

The intent behind Phillip Lorca diCorica's work is explicitly left open to the imagination. This perhaps comes from his habit of constructing suggestive, and often familiar, scenes, while omitting certain key information, leaving the viewer to fill in the blanks. ‘The more specific the information suggested by a picture,” he says, “the less happy I am with it”.

His cinematic style of work became poignant in his Hustler series, where he photographs the L.A's rent-boys, who are cast in the shadows of Hollywood’s bright lights.

As always, the pictures are meticulously constructed by diCorcia. However, he opts to title the photograph with: the name of the subject, his age, home town and the fee he was paid for the photo - a few words, suggesting a rich but un-elaborated narrative that is left to the audience to construct.

Similarly, in his recent collection ‘The Storybook life’ ,diCorcia assembled a broad swath of photos from across his career.  By arranging the work in a seemingly unrelated order he believes “ the content can constantly mutate according to both the external and internal condition of the viewer”

The Colourful World of William Eggleston

Art is man's constant effort to create for himself a different order of reality from that which is given to him

CHINUA ACHEBE

William Eggleston's exhibition at MOMA in 1976 is widely considered to be the tipping point in the eventual acceptance of colour photography as a legitimate artistic medium.

Inspired by the visual arts, he has since gone on to inspire a generation of artists with his colourful vivid and sometime uneasy depictions of the everyday.

Green Dress, 1970

His subject matter is familiar to us. We relate to the images but are unsettled as, through his camera, we now see the familiar through a new light, a new angle and in a new intensity of colour.

There exists a heightened sense of reality. The everyday qualities of the objects, people or landscapes are replaced with an unexpected and unsettling aura through unusual but balanced compositions and real but unnaturally saturated colours.

Eggleston’s photographs look like they were taken by a Martian who lost the ticket for his flight home and ended up working at a gun shop in a small town near Memphis

GEOFF DYER

William Eggleston, from William Eggleston in the Real World

The 2005 documentary William Eggleston in the Real World shows us first hand how the artist probes and searches out his subjects; peering into shop windows, front gardens, roaming the streets and buildings as if he had lost something precious.  When found, the subject is photographed, once, and the haphazard but exhaustive search continues again.

I believe in taking one picture of one picture

WILLI AM EGGLESTON

Green Car, 1965

Colour is the defining characteristic of his work.  Through colour, the ‘pictures’ relate on a sensory and emotional level providing the transformative power to turn the banal and common into the surreal.  Without colour the unusual would revert to its common state.  If reproduced in back & white Eggleston believes that his images, except for purposes of identification, “might as well not be reproduced” at all.

The following is an exploration into the role colour plays in transforming the world we know in into this world that we thought we knew.  It is a journey, under a number of themed headings, through the colourful world of William Eggleston examining his relationship with colour, his influences and his own influence on contemporary visual arts.

To take a photograph is to align the head, the eye and the heart. It's a way of life

HENRI-CARTIER BRESSON

1. THE PROCESS

Any discussion relating to Eggleston and his use of colour has to include, or even start with, his discovery of the dye transfer process in 1972, a process exclusively used at that time for the commercial printing of magazines and advertisements.

That is what got me interested. I would look at these advertisements say in Vogue…and I kept thinking, 'I wonder what Eggleston would look like in this process?

WILLI AM EGGLESTON

Cigarette Advertisement, 1970s

It was a complex, expensive and time-consuming process that basically involved the separation of three color negatives, made by photographing the original negative with black & white film through three filters (red, green and blue). The separations (matrices) were in turn soaked in organic dyes of yellow, magenta and cyan and then meticulously aligned and rolled over specialist paper, transferring the dye to paper.

Two girls on couch, 1976 (separations)

Photographic colour prints were predominately produced at that time as a C-Print (chromogenic coupler print) producing more “faithful” and less dramatic results than that of the dye process. The dye process exaggerated the colour values of an image allowing a photographer to obtain higher saturation in nominated colour fields (e.g. red) without affecting the rest of the colours in the image.  It gave a new level of control only provided in recent times by the emergence of digital photography.

Eggleston now had a new lush set of paints allowing an unprecedented influence and control over his pictures.  He now had a medium capable of depicting the world he was seeing.

Green Window, 1993

The dye transfer process helped Eggleston inject the ordinary with a heightened level of colour, intensifying the atmosphere and tension in in the frame and dislocating the viewer form the real world being presented. 

Hot Sauce, 1980

Eggleston's work and career was now transformed.  Colour was now not just part of the picture but it was the picture.  A process that was  being utilised to best show off products for sale was now being used to to show vivid and visceral depictions of common everyday objects, landscapes and people.  

Peaches, 1973

As advertisements were presenting abstracted realities to its audiences so to was Eggleston and both used the dye transfer process to help achieve this abstraction.  A process used to seduce, entice and persuade was now being applied to the bland of the everyday.  It was this juxtaposition that in some way unsettled the viewer.  Eggleston used the seductive, enticing and persuasive colour dye process and applied it to common objects and in doing so made us think about the very nature of his subject matter.

Dolls

It was also this abstraction of colour that turned what could be deemed photography into art. We were no longer seeing the world through the eyes of a photographer but through that of an artist with a new found medium.

I don’t think anything has the seductivity of the dyes…by the time you get into those dyes it doesn’t look at all like the scene, which in some cases is what you want

WILLIAM EGGLESTON

The vivid dyes defamiliarise the objects presented. We are provided a new intensifying filter of Eggleston to see the world through, rendering the ordinary strange.

You’re stepping into some kind of jagged world that seems like Eggleston’s World

ED RUSCHA

Shoes under a bed, c. 1973

Los Alamos

Los Alamos is a collection of images taken by William Eggleston between 1965 and 1974 as he traveled through Southern and Western America.  The book, first published in 2003 to accompany an exhibition at the Ludwig Museum in Germany, presents a selection of prints from a collection of some 2,200 negatives produced by Eggleston during this period.

Los Alamos provides us with further evidence of Eggleston innate attentiveness in capturing the life of the ordinary.  He photographed everyday life, objects and environments, recording them in their richness and unadorned states. 

These images of life never feel like they are studies but more like extended glances into the familiar.  The mundane and ordinary subject matter make the images accessible and understandable.  We’ve seen these things, these people before but maybe not like this. 

Untitled, 1965

This accessibility is further enhanced by the lack of depth and narrow perspective used by Eggleston.  He provides us with a human viewpoint. They are glimpses that we may have made ourselves but now we question whether we really ever saw what was there.  He reminds us that the ordinary is not so ordinary and that there is much vibrancy in the everyday.

Untitled, 1971 

It is this vibrancy and intensity that sets these images apart.  And it is Eggleston’s use of colour that achieves this.  Eggleston used colour at a time when it was only considered suitable for amateur photos or glossy commercial advertisements. It was at a time when "professional" photographers only took pictures in black-and-white. 

Black & White are the colours of photography – Robert Frank

Colour photography allowed Eggleston to use and control colour like a painter may.  Photography, for him, was always an extension of his love for the visual arts.  In 1973 Eggleston had discovered the now out-dated dye-transfer process.  It was a process predominantly used in the advertising industry during the 50s and 60s. The process resulted in giving specific colour’s enhanced saturation and increased intensity. With colour photography and his new found process Eggleston now had the tools to bring the ordinary and mundane to life. 

He shoots like a shutterbug and executes like a painter – Peter Schjeldahl

Eggleston draws us into his frames with his focused, targeted use of primary colour.  We are never left in doubt what or whom the subject of the photo is.  

 

Untitled [and] Untitled

The sky is used often like a curtain backdrop helping to contrast the show in front.  The intensity of the blue providing us with a frame for his subject matter.

Untitled, 1971

The intensity of Eggleton’s colours are rarely matched by the intensity of life underneath.  There are always signs of deterioration of wear and tear, whether it is a car, a sign, a face.  We are reminded of the fragility of ordinary life.  There are always cracks on the surface but maybe we sometime don’t notice them.  Eggleston ensures that we never bore of the mundane and the ordinary and reminds us that is such vibrancy and intensity to what we see everyday.

Untitled, 1965-1968