Friday, June 26, 2009

William Eggleston at the Corcoran

The William Eggleston exhibit at the Corcoran Museum opened on June 20th and is exceptional.

William Eggleston is from Memphis, TN. Many people have wondered if Eggleston's work is "Southern" or have asked him directly about the "meaning of the South". In an interview printed in Aperture by John Howell in 1999, in response to the "meaning of the South" query, Eggleston said "I don't know what they're looking for. I don't have any idea".

Howell continues to say that "Southern" always strikes Southerners as a condescending tag.

It's taken to mean "regional," as in local, anecdotal, folkloric and outrageously melodramatic - in other words, like those novels, films and plays full of enervated aristocrats, trampy women, and idiot men-children acting out in bizarre ways. It's as if solemn phrases about the drama of the decaying South soothe those puzzled by Eggleston's pictures ("What are they about?"), and those-mostly now in the past - outraged by the "banal" subject matter.

Eggleston gives his consistent philosophic answer: "You can take a good picture of anything. A bad one too," he adds, with a chuckle. He has said many times that the subjects of his pictures were simply an excuse to make photographs. "I want to make a picture that could stand on its own, regardless of what it was a picture of.

John Szarkowski isn't quite buying this. In the Introduction to the monograph William Eggleston's Guide, Szarkowski writes that the photos are about Eggleston's home, about his place.

...the pictures reproduced here are about the photographer's home, about his place, in both important meanings of that word. One might say about his identity.

If this is true, it does not mean that the pictures are not also simultaneously about photography, for the two issues are not supplementary but coextensive. Whatever else a photograph may be about, it is inevitably about photography, the container and the vehicle of all its meanings. Whatever a photographer's intuitions or intentions, they must be cut and shaped to fit the possibilities of his art. Thus if we see the pictures clearly as photographs, we will perhaps also see, or sense, something of their other, more private, willful, and anarchic meanings.

Photography is a system of visual editing. At bottom, it is a matter of surrounding with a frame a portion of one's cone of vision, while standing in the right place at the right time. Like chess, or writing, it is a matter of choosing from among given possibilities, but in the case of photography the number of possibilities is not finite but infinite. The world now contains more photographs than bricks, and they are, astonishingly, all different. Even the most servile of photographers has not yet managed to duplicate exactly an earlier work by a great and revered master.

Photos below are from the monograph William Eggleston's Guide
The Museum of Modern Art, New York, 1976, 2003

© William Eggleston

© William Eggleston

© William Eggleston

Thursday, June 4, 2009

The Perfect Moment

Twenty years ago, in the summer of 1989, the Corcoran cancelled its scheduled retrospective exhibition of photographer Robert Mapplethorpe called "Robert Mapplethorpe: The Perfect Moment". The Institute of Contemporary Art hosted a two-day symposium Imperfect Moments: Mapplethorpe and Censorship Twenty Years Later. The original exhibit was organized by Janet Kardon from the Institute of Contemporary Art in Philadelphia. A must read is the Janet Kardon article from 1988. The show was partially financed by the National Endowment for the Arts. One of the reasons for the cancellation was the uproar over the Andres Serrano photograph "Piss Christ" which was also funded by the NEA and exhibited in North Carolina. See the link above for the advert for Andres Serrano's SHIT show last fall.

Sister Wendy, nun and art critic, in an 1998 article in Art in America, doesn't seem at all bothered by Serrano's Piss Christ. (sorry, someone broke my link to the article). The New York Times reviewed a 10-year Serrano retrospective at the New Museum of Contemporary Art in a 1995 article by Holland Cotter.

The Guardian.UK's Jonathan Jones, in an article from Sept. 2000, writes about the Mapplethorpe polaroid portrait of Patti Smith from 1974 shown below. He nails this one calling Patti Smith "black anger in the white light".

Patti Smith, 1974, Polaroid -©Robert Mapplethorpe

Patti Smith, 1979 - ©Robert Mapplethorpe

Piss Christ - ©Andres Serrano