Forty years ago, William Eggleston exploded onto the art world. In spring 1976, as a relatively unknown photographer from Memphis, Eggleston was given a show at New York’s Museum of Modern Art. The exhibit’s catalog described Eggleston’s revolutionary color images — sumptuous snapshots of commonplace life and objects — as “perfect.” “Perfectly banal … perfectly boring, certainly,” came the riposte from sneering critics of the day.

« return to DLG news