William Eggleston – At Zenith

2013 / 1st edition
Steidl
33 × 25 cm, 88 pages
English
ISBN 978-3-86930-710-7 

There are a lot of different elements to a great photograph – I once wrote down a long list of twenty different things a long time ago. I think, in its entirety, any piece of art would begin with composition. After that, it would be geometry and design, and after that it is the content, and by content I am also speaking about colour.
Every element in the frame, every little square millimetre has to work perfectly together or it’s not and can’t be considered fine art. That is very important to me. While I can’t remember the other things I wrote on that list – I think that is enough.

At Zenith is a selection of  large-scale prints of clouds taken by Eggleston while on a 1978 road trip from Georgia to Tennessee, and originally published in the artist book Wedgewood Blue, in 1979. Shot with an early instant camera, while lying on the ground, Eggleston photographed the sky above; referred to as ‘celestial zenith’.
The dedication to Szarkowski in the accompanying Steidl publication At Zenith and the inclusion of the poem “He Wishes for the Cloths of Heaven” by W.B Yeats is touching, and offers a more poetic melancholy to the series.
As Szarkowski said of Eggleston, “As pictures, however, these seem to me perfect: irreducible surrogates for the experience they pretend to record, visual analogues for the quality of one life, collectively a paradigm of a private view, a view one would have thought ineffable, described here with clarity, fullness and elegance.” 

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At Zenith è una selezione di stampe su larga scala di nuvole scattate da Eggleston durante un viaggio del 1978 dalla Georgia al Tennessee, e originariamente pubblicate nel libro d’artista Wedgewood Blue, nel 1979.  Con una fotocamera istantanea, sdraiato per terra, Eggleston fotografò il cielo; indicato come zenith celeste.
La dedica a Szarkowski in questa pubblicazione di At Zenith e l’inclusione del poema He Wishes for the Cloths of Heaven di W.B Yeats sono toccanti, e danno un tocco di poetica malinconia alla serie.
Come Szarkowski disse di Eggleston, “Come immagini, tuttavia, queste mi sembrano perfette: surrogati irriducibili per l’esperienza che fingono di registrare, epitomi visivi per la qualità di una vita, collettivamente un paradigma di visione privata, una visione ritenuta ineffabile, descritta qui con chiarezza, pienezza ed eleganza.”