William Eggleston, Untitled from The Democratic Forest, (c. 1983-1986), via Art Observed

There are few photographers who have left a mark on their medium in the way that William Eggleston has over the course of his career.  Pioneering an approach to the photograph as meticulous as it is seemingly effortless, Eggleston’s work has charted a path and progression through both his own chosen craft and the American landscape.  Capturing subdued, yet sublime moments of life across the country, from momentary pauses in urban bustle to the somber stillness of the American rural South.  Now, the Tennessee-born artist is revisiting his landmark project The Democratic Forest at David Zwirner in New York, a look back at the artist’s career that simultaneously marks his first exhibition since joining the gallery for global representation.

William Eggleston, Untitled from The Democratic Forest, (c. 1983-1986), via Art Observed

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William Eggleston is now represented by David Zwirner, the New York Times reports, ending a five-year partnership with Gagosian Gallery.  “Eggleston is really a living legend of American art,” Zwirner says. “And it’s important for us — and for the artist — that he is contextualized as an artist and not just as a photographer.” (more…)

A New York State Court Judge has dismissed a lawsuit against photographer William Eggleston, which would have had restraining effects on an artist’s ability to reproduce work.  The lawsuit, filed by collector Jonathan Sobel, stated that Eggleston’s new, digitized editions of prints from his work in the 1970’s devalued the works that Sobel had purchased.  Judge Deborah Batts dismissed this claim, stating that: “although both the Limited Edition works and the Subsequent Edition works were produced from the same images, they are markedly different.” (more…)

Untitled (Newspaper on Ground, Grass, California) (2000) by William Eggleston, via Cheim & Read Gallery

Currently on view at Cheim & Read Gallery in New York are two concurrent photography exhibitions featuring rarely shown photographs by Diane Arbus and William Eggleston.  The works by Diane Arbus are grouped under the “In the Absence of Others” and feature empty rooms  and artificial rooms taken during the 1960s. The exhibition of Eggleston’s works is entitled “21st Century” and highlights his most recent works.

An Empty Movie Theater (1971), by Diane Arbus, via T Magazine

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Grayson Perry; Entrance To The Forest; 2002; Victoria Miro Gallery; London -Photos by ArtObserved

“The surprise is the business we are doing. Frankly, people are expressing more confidence in the art market than the government or Wall Street right now,” said Sean Kelly of Sean Kelly Gallery. The night of December 2nd, Vernissage attendees glittered and Piper Heidsieck champagne flowed.  More importantly, buyers were in attendance, asking questions and indeed, according to most of the galleries interviewed for this article, buying.  On Thursday afternoon, Douglas Baxter, President of Pace Wildenstein professed “We’ve met expectations.” Also on Thursday, when asked his feelings on sales from the night before, a representative at Cheim & Read insisted his artists have been selling well, pointing to Jack Pierson sculpture and a pile of William Eggleston’s photos.  Margherita Belaief of Peres Projects had the same confidence, “It’s hard to say so early but in general, Dash Snow’s pieces are selling strong.”  While hesitant to disclose precise numbers, the overall sentiment of the top galleries was optimistic.

However, it’s important to note while the larger known artists have been selling strong, some galleries have reported some difficulty selling lesser known artist pieces.  Alfons Klosterfelde at Klosterfelde was most direct: “People are asking more questions and really want to know the details,” but he said pointedly as of Thursday, “there have been less sales” and Klosterfelde remarked the pieces sold were from the gallery’s more known artists.

Photos and Writing by Faith-Ann Young

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