New Dyes

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Untitled, 1970-1973 © Courtesy of the Eggleston Artistic Trust
New Dyes

Bergamot Station Art Center
2525 Michigan Avenue G-5
Santa Monica, CA 90404
October 13th, 2012 - November 24th, 2012
Opening: October 13th, 2012 6:00 PM - 8:00 PM

santa monica/venice
Tue-Sat 10-6 / artist receptions Saturdays 6-8 pm


ROSEGALLERY is pleased to announce the international debut of new dye transfer prints by William Eggleston. Images from New Dyes will be on view from 13 October - 24 November, 2012. A reception for the artist will be held Saturday, 13 October 2012 from 6-8.

William Eggleston intentionally constructs photographs that are deceptively casual, brutally direct, even banal. His vision is uncompromisingly neutral, and as a result, unsettling. Whether he is making portraits, landscapes, interiors, still-life's, or street scenes, he presents the reality of things with unflinching, unsentimental candor. By marrying this hard-view approach with sophisticated color theory, Eggleston continuously rediscovers and reexamines the unconsciously ordered, rich and distinct world of the mundane that is so often overlooked and in so doing, produces images that vibrate with tension.  

His first solo exhibition, simply titled Color Photographs opened at the Museum of Modern Art, New York on May 25th, 1976. Comprised of 375 dye transfer prints of the artist's early color work, produced between 1969 and 1971, it was regarded as one of the most influential photography shows of its time. The corresponding catalogue, William Eggleston's Guide, was the museum's very first publication of color photographs and together, exhibition and book represented a turning point in the history of photography; the point where color photography gained recognition as a medium of artistic expression.

The radical departure from conventionally composed images combined with the pioneering use of the dye transfer print process in Color Photographs became the hallmark of Eggleston's career. His reliance on dyes as a primary interpretive tool was an unprecedented aesthetic and conceptual choice that made a deep impact in world of photography. Originally developed for magazine and advertising copy, the dye transfer printing method carried commercial and consumer connotations and was not commonly used by fine artists. Eggleston was one of the first to challenge this idea and to use the inherent advantages of the dye transfer process to control the colors in his prints individually. By exaggerating particular hues and making use of the broadest color gamut and tonal range that any process has to offer, Eggleston added a psychological component, even an hallucinatory atmosphere to his pictures of the everyday. The arresting saturated palette, richness and unmatched depth of Eggleston's final prints are derived from this intricate and rare tradition.


This Fall, ROSEGALLERY is pleased to present the very latest and likely the last dyes of Eggleston's work that will ever be produced. Culled from the same group of 5000 Kodachrome slides from which John Szarkowski curated Eggleston's first exhibition, New Dyes represent the best of the artist's unseen transparencies shot between 1969 and 1974. Printed by Guy Stricherz and Irene Mali, two of the last practitioners of the dye transfer craft, Chromes illustrate the work of an artist at the height of his productivity and discovery. The images and the prints are classic Eggleston; profound in their rebellious content, distinguished for their peerless beauty.


A comprehensive exhibition of Eggleston's NEW DYES will be held at the TATE Modern London, 2013 and will become part of the museum's permanent collection.



William Eggleston was born in 1939 in Memphis, Tennessee and was raised in Sumner, Mississippi, on his family's plantation. His work has been exhibited in museums worldwide, and has been the subject of major retrospectives at the Museum of Modern Art, the J. Paul Getty Museum, the Whitney Museum of American Art, and the Los Angeles County Museum of Art among others. Monographs, and limited edition books featuring his work are numerous. Most notable among them are William Eggleston's Guide (with forward by John Sarkowski), 1976; Ancient & Modern, 1992; Faulkner's Mississippi, 1990; 2 ¼, 1999; Los Alamos (with introduction by Walter Hopps), 2003; William Eggleston: Democratic Camera, Photographs & Video 1961-2008, 2008.



Eggleston | A partial list of public collections:


Art Institute of Chicago, IL

Baltimore Museum of Art, MD

Corcoran Gallery of Art, Washington D.C.

Foundation Cartier, Paris, France

Hasselblad Center, Gothenburg, Sweden

J. Paul Getty Museum, Los Angeles, CA

Metropolitan Museum of Art, New York, NY

Museum of Modern Art, San Francisco, CA

Museum of Modern Art, NY

National Gallery of Art, Washington D.C.

Smithsonian Institute, Washington D.C.

Whitney Museum of American Art, New York, NY