Recent Press

William Eggleston, the Pioneer of Color Photography
T: The New York Times Style Magazine, Augusten Burroughs, October 17, 2016

"A visit with the artist reveals him to be every bit as brilliant, confounding and heartbreakingly soulful as the pictures he makes."

William Eggleston - in living colour
The Financial Times, David Chandler, July 27, 2016

"Colour could be raw, shocking: crueller than black and white, yet also more voluptuous. Eggleston intuitively grasped how colour could resonate with psychological intensity, and among his pictures of people are some of the simplest yet most powerful of his colour studies."

Devastatingly brilliant: William Eggleston's portraits
The Telegraph, Louisa Buck, August 26, 2016

"Here, whether it is Eggleston's mother, intimately captured in her nightie on special low-light surveillance film, or longstanding family servant Lucille Fleming making a bed, or a succession of strangers using callboxes, sitting in diners or standing at petrol stations, we see that his keen eye for composition, and his experimental use of light, tone and focus were all firmly in place right from the start."

An Afternoon with William Eggleston, Living Icon
W Magazine, Alexandra Pechman, October 26, 2016

"In the national conversation swelling out of this election year, it’s clear that much of the country Eggleston photographed–the parking lots, diners, and driveways across America – still demands illustration in the imagination of those who arbitrate the cultural conversation. His pictures aren’t political; they are democratic."

Listening for Eggleston
Aperture, John Jeremiah Sullivan, Fall 2016

"He started shooting the South just at the moment it began to look more like other places. Its banality, in other words, and not its exoticism, called to him first."

William Eggleston Portraits review–up close and quite personal

The Observer, Laura Cumming, July 24, 2016
"The more you move among these pictures, shifting back and forth between them, the more your sense of American life deepens and expands by the moment. Laconic, populous, infinitely various, these portraits do seem to take their part in a growing narrative, what Eggleston once casually referred to as 'a novel I’m doing.'"

Nowhere Man
Bookforum, Prudence Peiffer, February/March 2016

"On The Democratic Forest publication: "More than any other project by Eggleston, these photographs deliver his aesthetic, which, as the title gives away, is also a philosophy of democracy: the power of the ordinary, the beauty of contingency, the aim of a universalist view."