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The Outlands, a series of photographs taken by Eggleston between
1969 and 1974, establishes the groundbreaking visual themes and
lexicon that the artist would continue to develop for decades to
come. The work offers a journey through the mythic and evolving
American South, seen through the artist's lens: vibrant colors and
a profound sense of nostalgia echo throughout Eggleston's
breathtaking oeuvre. His motifs of signage, cars, and roadside
scenes create an iconography of American vistas that inspired a
generation of photographers. With its in-depth selection of
unforgettable images - a wood-paneled station wagon, doors flung
open, parked in an expansive rural setting; the artist's
grandmother in the moody interior of their family's Sumner,
Mississippi home - The Outlands is emblematic of Eggleston's
dynamic, experimental practice. The breadth of work reenergizes his
iconic landscapes and forms a new perspective of the American South
in transition. Accompanying the ninety brilliant Kodachrome images
and details, a literary, fictional text by the critically acclaimed
author Rachel Kushner imagines a story of hitchhikers trekking
through the Deep South. New scholarship by Robert Slifkin reframes
the art-historical significance of Eggleston's oeuvre, proposing
affinities with work by Marcel Duchamp, Dan Graham, Jasper Johns,
and Robert Smithson. A foreword by William Eggleston III offers
important insights into the process of selecting and sequencing
this series of images.
The Making of the Modern Law: Legal Treatises, 1800-1926 includes
over 20,000 analytical, theoretical and practical works on American
and British Law. It includes the writings of major legal theorists,
including Sir Edward Coke, Sir William Blackstone, James Fitzjames
Stephen, Frederic William Maitland, John Marshall, Joseph Story,
Oliver Wendell Holmes, Jr. and Roscoe Pound, among others. Legal
Treatises includes casebooks, local practice manuals, form books,
works for lay readers, pamphlets, letters, speeches and other works
of the most influential writers of their time. It is of great value
to researchers of domestic and international law, government and
politics, legal history, business and economics, criminology and
much more.++++The below data was compiled from various
identification fields in the bibliographic record of this title.
This data is provided as an additional tool in helping to insure
edition identification: ++++Harvard Law School
Libraryocm15115095Terre Haute Ind.]: Hebb & Goodwin, 1880.
xlii, 640 p.; 24 cm.
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William Eggleston - For Now (Hardcover)
William Eggleston; Text written by Lloyd Fonvielle, Kristine McKenna, Amy Taubin; Afterword by Michael Almereyda
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For Now is the result of film-maker Michael Almereyda's year-long
rummage through the Eggleston archives, a remarkable collection of
heretofore unseen images spanning four decades of work by one of
our seminal artists. Unusual in its concentration on family and
friends, the book highlights an air of offhand intimacy, typical of
Eggleston and typically surprising. Afterword by Michael Almereyda,
with additional texts by Lloyd Fonvielle, Greil Marcus, Kristine
McKenna and Amy Taubin.
William Eggleston's latest monograph features photographs taken
during the early 1970s using a large format 5 X 7 camera. While the
book includes imagery typical of the Eggleston oeuvre-streetscapes,
parked automobiles, portraits of the strange and
disenfranchised-the book also offers never-before-published
photographs taken in the nightclubs Eggleston used to frequent.
Born and raised in Mississippi and Tennessee, William Eggleston
began taking pictures during the 1960s after seeing Henri
Cartier-Bresson's The Decisive Moment. In 1966 he changed from
black and white to color film, perhaps to make the medium more his
own and less that of his esteemed predecessors. John Sarkowski,
when he was curator of photography at the Museum of Modern Art,
called Eggleston the "first color photographer, " and certainly the
world in which we consider a color photograph as art has changed
because of Eggleston.
From 1966 to 1971, Eggleston would occasionally use a two and
one quarter inch format for photographs. These are collected and
published here for the first time, adding more classic Eggleston
images to photography's color canon.
In April 1979, a book of fifteen colour photographs by William
Eggleston was published in a limited edition of twenty. The
photographs were taken from the second chapter of an unpublished
larger work entitled Wedgewood Blue. Amidst his publications
Chromes (2011), Los Alamos Revisited (2012), and the upcoming
Democratic Forest (2014) and Election Eve (2016), all documenting
his lifetime work, At Zenith constitutes a calm and experimental
intermezzo from Eggleston's familiar loudness and intensity of
colours. The photographer pointed his camera at the sky to focus on
the clouds rolling by.
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