Extractos do texto de Barry Schwabsky para a "The Nation" sobre a exposição de William Eggleston no Whitney Museum."After having spent some hours at the Whitney Museum among William Eggleston's photographs, I couldn't stop my mind's eye from framing each passing place as an interesting photograph. I was in a taxi on the way to the airport and thinking hard about walking straight to the duty-free shop to see what they had in the way of cameras."
"Calling his grand and gorgeous retrospective at the Whitney "Democratic Camera," Eggleston might seem to imply that anybody can do it. (The exhibition can be seen there through January 25; it then travels to the Haus der Kunst in Munich, where it will run from February 20 to May 17.)"
"Eggleston not only makes it look easy, as natural as opening your eyes, but seems to have come upon his art all at once. That's not to say he never made any apprentice work, only that it had almost nothing in it of what we'd now recognize as the Eggleston eye, and that while there was a transitional period between apprenticeship and fully achieved mastery, it happened in the blink of an eye."
"Eggleston has always denied being a "Southern artist" and rightly points out that he travels widely and has made many fine images elsewhere. His is certainly not the "Gothic" South of Faulkner and McCullers, whose photographic offspring might be Ralph Eugene Meatyard. But he's as Southern in his rejection of identification with the South as he is in his evident fascination with its landscape and the people who have made and marred it: they are all here, black and white, rich and poor, not as exemplars of any societal or political problem but all affected by a similar unease with their place."
"Eggleston is the opposite of a documentarian because he uproots his images from their anecdotal context. What is left after this removal? A structure of feeling."
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