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Articles by Phillip Prodger
An Alternative History of Photography: Works from the Solander Collection
With over 130 works from the Solander Collection, An Alternative History of Photography invites you to look again at well-known works and new discoveries by major artists, alongside forgotten greats, regional champions and unknown artists.
Moving Targets
Moving Targets William Eggleston: Los Alamos an exhibition at the Metropolitan Museum of Art, New York City, February 14–May 28, 2018 Election Eve by William Eggleston, with a preface by Lloyd Fonvielle Steidl, 184 pp., $85.00 Portraits by William Eggleston, edited by Phillip Prodger, with an appreciation by Sofia Coppola Yale University Press, 184 pp., $50.00 The Democratic Forest by William Eggleston, edited by Mark Holborn and William Eggleston III, and with an introduction by Eudora Welty...
'William Eggleston Portraits' is a body of work that keeps you guessing
The surreal images of American photographer William Eggleston are likely to leave viewers unsatisfied, and that is a high compliment. Working mostly in the South in the 1960s and ’70s, Eggleston captured images that often seem like movie stills from a film you’ve never seen. Eggleston's compositions of mundane objects and faces will leave you trying to piece together a story that will never be fully clear.
Photography and Cinema Are More Similar Than You Think
Visually speaking, we live in the iPhone age. The bulky and expensive Handycams of the 1980s (no longer quite so handy) have given way to smartphones, tablets and YouTube. If history is any guide, these innovations too will one day seem as quaint as eight-track tapes. But they are indisputable landmarks, representing a substantial shift in our relationship to picture making. iPhones and related technologies make it possible to make good quality video with ease.
What Makes A Great Portrait Photograph?
In her extended essay ‘A Room of One’s Own’, Virginia Woolf wrote that the mind of an artist must be ‘incandescent’. I have always cherished that phrase, because it captures something that is too often lost in the marketplace of art. The best works tell us what it means to be alive, offering solace and insight, inspiration and understanding. The viewer is the catalyst in the chemical reaction that is artistic expression. Once under way, it burns with insistence.
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