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Articles by William Eggleston
William Eggleston David Zwirner
follow The Outlands 525 & 533 West 19th Street Nov 10 - Dec 17, 2022 solo show contact gallery contact DailyArtFair William Eggleston Untitled , c. 1969–1974 David Zwirner more David Zwirner shows (314) follow more William Eggleston solo shows (2) follow more William Eggleston group shows (4) follow
William Eggleston
This three-volume publication draws on the mass of outtakes from William Eggleston’s 1976 MoMA exhibition to explore his luminous approach to color photography. William Eggleston’s photography, drawn from his immediate surroundings, Memphis and its environs, offers one of the most intensive and concentrated responses to place in the history of photography.
Quote Of The Week By William Eggleston
“I never know beforehand. Until I see it. It just happens all at once. I take a picture very quickly and instantly forget about it.” —William Eggleston (1939) William Eggleston is one of the most influential photographers of the latter half of the 20th century. His portraits and landscapes of the American South reframed the history of the medium and its relationship to colour photography. His initial style was influenced by Henri Cartier-Bresson, Robert Frank, and Walker Evans.
Exhibition : Ray Johnson David Zwirner
Ray Johnson follow Untitled (BRUNCH), n.d. Collage on cardboard panel 7 1/2 x 12 1/2 inches (19.1 x 31.8 cm) Framed: 11 1/2 x 16 1/2 x 1 3/4 inches (29.2 x 41.9 x 4.4 cm) © Ray Johnson Estate Courtesy of the Ray Johnson Estate David Zwirner WHAT A DUMP Apr 08 - May 22, 2021 for more information about this artwork contact gallery contact DailyArtFair Ray Johnson Untitled (BRUNCH) , n.d. David Zwirner Ray Johnson follow Untitled (Lucky Strike Lucky Strike May), 1979-1987; 1991 Collage on...
Metamorphosis - Daily Art Fair
James Welling 4776 , 2015 David Zwirner James Welling 4910 , 2015 David Zwirner James Welling Kusama , 2014 David Zwirner James Welling Head of a goddess , 2019 David Zwirner James Welling 8634 , 2015 David Zwirner James Welling 0865 , 2009 David Zwirner James Welling Roman Glassware , 2020 David Zwirner James Welling 3693 , 2017 David Zwirner James Welling Lavender Mist , 2014 David Zwirner James Welling 004 , 2017 David Zwirner James Welling 009 , 2017 David Zwirner James Welling Chemical ,...
Exhibition : Ray Johnson Group Show David Zwirner
Ray Johnson follow Untitled (Moticos with Red Ground), 1958 Collage on cardboard panel 11 1/8 x 7 1/2 inches (28.3 x 19.1 cm) Framed: 20 1/2 x 15 1/2 inches (52.1 x 39.4 cm) © Ray Johnson Estate Courtesy of the Ray Johnson Estate David Zwirner Five Decades Apr 08 - May 22, 2021 for more information about this artwork contact gallery contact DailyArtFair Ray Johnson Untitled (Moticos with Red Ground) , 1958 David Zwirner Ray Johnson follow David Bourdon, 1971 Collage on illustration board 26...
Exhibition : Frank Walter David Zwirner
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Quote Of The Week By William Eggleston
“I only ever take one picture of one thing. Literally. Never two. So then that picture is taken and then the next one is waiting somewhere else.” —William Eggleston (1939) William Eggleston is one of the most influential photographers of the latter half of the 20th century. His portraits and landscapes of the American South reframed the history of the medium and its relationship to colour photography. His initial style was influenced by Henri Cartier-Bresson, Robert Frank, and Walker Evans.
William Eggleston. Mississippi. 1976
If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at .
Six Captivating New Photography Books to Buy Now
Lotte van Raalte, BODY© Lotte van Raalte From an unflinching study of women and their bodies by Dutch photographer Lotte Van Raalte to Pieter Hugo’s La Cucaracha, an exploration of sex and death in Mexico February 07, 2020 BODY by Lotte Van Raalte, self-published A new photo book by Lotte van Raalte, titled BODY, collates images from a recent project which saw the Dutch image-maker photograph 46 women nude, from girls in their teens to those in their nineties.
William Eggleston. Downtown Morton, Mississippi. c. 1969
If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at firenze@scalarchives.com.
Naloxone Administration by Untrained Community Members
Study Objective Access to naloxone is a priority for reducing opioid deaths. Although community members who complete naloxone training are able to administer nasal naloxone successfully and rapidly, little is known about the ability of community members to administer naloxone without training. The objective of this study was to assess the ability of untrained individuals to administer naloxone successfully in a simulated opioid overdose setting.
Clinicians have mixed opinions about Trump administration’s newest plan to fight opioid crisis
The Trump administration recently unveiled its latest strategy on confronting the nation’s opioid crisis, the HEALing Communities Study, in which more than $350 million is available as grants to hospitals or universities in Kentucky, Ohio, New York and Massachusetts — some of the states hit hardest by the opioid crisis.
Visual Storytelling — Combining Emotion and Intellect to Make an Impact - Molly Roberts interviewed by Sophie Wright | LensCulture
Photography has been an integral part of the stories that National Geographic sheds light on, spanning geography, history and culture. Two hundred years after it was founded, its content continues to evolve, stretching beyond the iconic yellow frame of its front cover to build a strong online presence. Sourcing bold and passionate image-makers is at the publication’s core—a testimony to its commitment to photography’s power as a tool for visual storytelling.
William Eggleston. At the Best Western Motel, Americus, Georgia. 1976
If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at firenze@scalarchives.com.
Peter Hujar: Speed of Life
It begins in small doses. As you walk down the steps from the main entrance of the Berkeley Art Museum and Pacific Film Archive, a wall of Peter Hujar’s iconic black and white photographs awaits you on your left. Two parallel lines of images are traced across this wall, beckoning visitors into the exhibition. This teaser is digestible and inviting, making you want more.
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...
She’s Not There - Photographs by Price Harrison | LensCulture
Price Harrison’s photographs reveal an eye for shape and for form. Harrison is best known as an architect of pristine white spaces, and so it is in some ways surprising that his photographs pay such close attention to color and hue—in many cases, the shades of our mass-produced world. Harrison’s photographs communicate a sense of detail both as noun (the architect’s craft of construction) and verb (the love and, indeed, the fetishization of finish).
An Oral History of the Tropicana, the 50s Nightlife Destination in Cuba
A____na Gloria Varona, showgirl: We hid behind a gold curtain when the passengers came on board, like we were backstage at a real cabaret. My dance partner Rolando and I were set to put on a live floor show in the front of the cabin. We even had a band from Tropicana with us—a pianist, a bongo player, a drummer, and a trumpet player. The front seats had been taken out so the musicians could all fit in with their instruments. Who knows how they got that piano on the plane?
Ask a Scientist: Why don’t snakes die from their own poison?
Meet the student asking the question: Why don’t snakes die from their own poison? There are two reasons why snakes don't die from their own venom. The first is that snake venom is only toxic when it gets inside the blood system. This is why snakes have to bite other animals to kill them with their venom. The snake stores the venom inside a special part of their body, known as a gland, which keeps the venom out of the snake’s blood system and protects them from it.
Ask a Scientist: Why snakes don't poison themselves
QUESTION: Why don’t snakes die from their own poison? ANSWER: There are two reasons why snakes don't die from their own venom. The first is that snake venom is toxic only when it gets inside the blood system. This is why snakes have to bite other animals to kill them with their venom. The snake stores the venom inside a special part of their body, known as a gland, which keeps the venom out of the snake’s blood system and protects them from it.
Simple, Essential Fragments from the Street - Photographs and text by Alberte A Pereira | LensCulture
One of the main axes on which street photography pivots is the observation of people’s behavior: how they interact and how they interrelate, especially in urban spaces. “Fragments” is a sample of small gestures, of people absorbed and decontextualized, showing only part of the environment that surrounds them. Likewise, I portray pieces of urban space without the presence of people.
Facing Victims: A Photographer’s Place in Conflict and Disaster Zones - Photographs and text by Eddie Gerald | LensCulture
Contemporary conflicts are generally classified as “new wars,” a term that indicates how much warfare has changed in recent history. In new wars, non-state actors intimidate civilians through mass killings, brutal and coercive acts, and destabilization strategies.
Karaba Brick Quarry - Video interview with David Pace | LensCulture
Karaba is a small African village in southwestern Burkina Faso. Outside the village, a short distance from the dusty main road, is a quarry where men carve bricks from solid stone using only picks and shovels. The rock is called laterite (from the Latin “later” meaning “brick”). The quarry has been in constant use for nearly 30 years. The bricks, loaded onto wagons and taken to nearby villages, are the basic building blocks for the homes, buildings and walls that form the surrounding communities.
Little Aral Sea Dreams - Photographs by Didier Bizet | LensCulture
It all started at the end of the 1960s. The Soviets, under the direction of Stalin’s frighteningly titled “Great Plan for the Transformation of Nature,” decided to divert the water from two rivers—the Amou-Daria and Syr-Daria—which had long fed into the Aral Sea. Their goal was to draw this water for an irrigation project that would create large cotton plantations and wheat fields across the steppes of Kazakhstan and Uzbekistan.
Notes from the Field: Cardiac Dysrhythmias After Loperamide Abuse - New York, 2008-2016
Loperamide is an over-the-counter antidiarrheal with opioid-receptor agonist properties. Recommended over-the-counter doses (range = 2–8 mg daily) do not produce opioid effects in the central nervous system because of poor oral bioavailability and P-glycoprotein efflux* of the medication (1); recent reports suggest that large doses (50–300 mg) of loperamide produce euphoria, central nervous system depression, and cardiotoxicity (2–4).
He Huffed and He Puffed and He Got Frostbite
A 27-year-old man presented to the ED following a syncopal episode. A 27-year-old man presented to an ED after experiencing a syncopal episode. His vital signs at presentation were normal. Physical examination was generally normal except that there were blisters on the patient’s abdomen, left hand, and right arm, as well as a hypertrophic nodule on the right elbow (Figure) and hard growths on the digits of the right hand.
Loperamide Abuse Associated With Cardiac Dysrhythmia and Death
Both of these patients were abusing oral loperamide, though the exact indication for use remains unclear. Loperamide is a μ-opioid receptor agonist with insignificant central nervous system opioid activity at therapeutic doses because of low oral bioavailability (0.3%), poor blood-brain barrier penetration, and P-glycoprotein efflux activity.1x1Baker, D.E. Loperamide: a pharmacological review. Rev Gastroenterol Disord.
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