 "Photo: Art Institute of Chicago")
William Eggleston’s photographs are simple. They offer a snapshot of the nouns (people, places and things) of the South. Upon first hearing and seeing a glimpse of Eggleston’s work, one might assume his works and this collection at the Art Institute of Chicago will be boring. You might ask yourself, “Why would anyone want to see a bunch of photographs of what I live through most days?” You might be correct in this initial assumption; however, in their very simplicity they achieve complexity. Like truly artistic photographs, they allow a glimpse into another world.
Born in 1939 in Memphis and raised in Sumner, Miss., Eggleston began his foray into photography while in college. He purchased his first camera while attending Vanderbilt University and began taking photography more seriously after discovering Henri Cartier-Bresson’s photography book The Decisive Moment. The works of Cartier-Bresson inspired Eggleston and his work a great deal. The French photographer had a profound impact on Eggleston: He traveled to Paris with hopes of recreating Bresson’s work. However, his time in Paris produced little. Eggleston then returned home to his native Mississippi.
His home state of Mississippi and its surrounding locales provide the backdrop for his work. The Art Institute’s show displays a variety of Eggleston’s work, ranging from early back and white photographs to a largely color display for which the artist is famous. The early black and white photographs foreshadow the work Eggleston was to do later in his career. Although concerning the same subject matter, the snapshots seem rushed and ill conceived.
The early black and white photos form only a small portion of the exhibit; most of the works are done in color — Eggleston’s preferred way of shooting. When asked why he shot a majority of works in color he responded, “I had wanted to see a lot of things in color because the world is in color.” This simple response mirrors the elementary composition of each photograph.
Some of the shots are strange: a middle-aged man caught in mid-sentence sitting on a bed, holding a rifle, a table set for a meal complete with green beans and biscuits and a young grocery store employee pushing carts together in front of a store. Each image captured by Eggleston appears as if they might be the remnant of memories or moments lost by someone suffering from amnesia.
All of these small glimpses into Southern life are in strikingly vibrant color. This is due in part to the way Eggleston printed. Using a somewhat tedious process, Eggleston used dye transfer printing for a better color production. The result of the printing process is evident when compared to the photos printed from a digital file.
Eggleston’s most interesting works in the exhibit might be those taken in “Graceland” series. Working on commission, Eggleston was allowed into Elvis Presley’s home to photograph some of Presley’s belongings, little-seen by the public eye. While there are only about four or five photos from “Graceland,” which include a glimpse inside a gold living room and a shot looking out of the Graceland gate with the cars passing by on Elvis Presley Boulevard. These photos offer a cogent peek into the music icon’s life. Ironically, though Eggleston never viewed Presley with the same admiration as other Southerners. He once famously said he had no interest in Presley and still doesn’t.
Most of Eggleston’s works are untitled, leaving the photographs to speak for themselves. Eggleston excels in the idea of keeping it simple. None of the works are extraordinary or fantastic. Instead, most are just everyday moments captured in time.
William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 is now on exhibit at the Art Institute of Chicago. Tickets $12;Thursday afternoons free.
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