Eggleston & Parr – ‘The Everyday Banality Of Life’

By Tracy Vine

Preface

In 1976, William Eggleston, a relatively unknown photographer, divided the artistic fraternity with his first exhibition of colour photographs at the Museum of Modern Art (MoMA) in New York. His ability to polarise the opinions of experts helped to make him one of the leading documentary photographers of his time: Holland Cotter (2008), art critic for the New York Times described him as “one of our finest living photographers”.

In 1986, another relatively unknown photographer, Martin Parr received a similar reaction for his first foray into colour photography with his book “The Last Resort” which chronicled the working class on holiday. Sandra S. Phillips (2007) described him as “one of the best-known and most influential British photographers working today”.

Eggleston and Parr are both world renowned documentary photographers, associated with capturing their subject matter in an unflattering and sometimes disturbing way. This essay examines these parallels and considers how they have manifested similarities in their techniques and published work.

Introduction

Up until the 1970s, black and white photography was the chosen form of the documentary photographer. Colour film had been around since 1935 but was widely shunned by all except in the use of advertising and amateur photography. The 'First Exhibition of All Colour Photography' at MoMA in 1950, curated by Edward Steichen was a rare exception. It showcased colour prints from over 75 photographers, but several of these photographers like Henri Cartier-Bresson and Walker Evans in later life were quite dismissive of the colour format. Of the exhibition, Steichen commented that "This exhibition asks more questions than it answers, for in spite of fine individual attainments and rich promise, colour photography as a medium for the artist is still something of a riddle." (MoMA, 1950)

In 1976 this was to change irrevocably by William Eggleston, an unknown photographer whose understated style coupled with the boldness of colour print trampled over the traditional practices followed by documentary photographers. Eggleston was of a new breed who gained almost cult status through the chaos that his work caused amongst the critics. At the time, Hilton Kramer, art critic for The New York Times wrote in response to John Szaworski’s “perfect” description of Eggleston’s exhibition at the MoMA: “Perfect? Perfectly banal, perhaps. Perfectly boring, certainly.” The ensuing noise that followed Eggleston helped to raise his profile and with the continued support of Szaworski, his work became known around the world.

Eggleston: Greenwood, Mississippi. 1973

Ten years later, Martin Parr, a British documentary photographer was embarking on a similar journey; wearing his Eggleston influences (amongst others) on his sleeve he published his first set of colour pictures only to be panned by many critics of the day. His use of colour, the mundane subjects and the uneasiness he generated with his audience were reflections of the trademarks of Eggleston’s work so perhaps it was unsurprising that he also got negative criticism. However “The Last Resort” was published when Britain was in the grip of a political frenzy due to the highest unemployment post-war and critics misinterpreted it as a political dig at the working classes.

Consequently, Parr was considered too cynical for the documentary genre and his treatment of colour combined with close-up flash photography was judged too cruel by people like art critic Colin Jacobson who described Parr as a "gratuitously cruel social critic who has made large amounts of money by sneering at the foibles and pretensions of other people." (Jacobson cited in Carroll 2009). These sentiments were echoed in 1994 by Philip Jones Griffiths on the election of Parr into Magnum, the most prestigious agency for documentary photographers: “Let me state that I have great respect for him as the dedicated enemy of everything I believe in and, I trust, what Magnum still believes in." (Jones Griffiths cited in Carroll 2009).

Parr: New Brighton from “The Last Resort”, c. 1983-86

Like Eggleston, Parr ignored his detractors and continued to produce the work that interested him. Despite the criticism of their early works neither artist compromised on their style and with their artistic integrity intact, they both went on to enjoy highly successful careers.

Background

William Eggleston, born in 1939, enjoyed a privileged upbringing on his grandfather’s cotton plantation in the “Deep South” of the United States; his father was killed during the Second World War. Raised in Sumner, Mississippi by his mother and grandparents, his first experience of photography was encouraged by his grandfather who gave him a snapshot camera when he was about 10 years old. Eggleston remembers: “Everything I photographed blurred, looked horrible” (Eggleston, cited in Booth 1999).

As a student he found it difficult to fit in because his passion was art and music unlike many boys his age. He went to boarding school and then spent 5 years occasionally studying art at Vanderbilt University, Delta State College, and the University of Mississippi. During this time he showed no interest in actually graduating and never even bothered taking exams but he did develop his interest in photography after buying a camera on the insistence of a friend.

He started producing black and white photographs from 1957 and tried to emulate the styles of people like Cartier-Bresson who he idolised purely on the strength of his seminal publication “The Decisive Moment”. Cartier-Bresson didn’t believe in manipulating the photograph in the darkroom and so would compose his photograph in the view finder waiting for the right moment to take the picture; this is what he called the decisive moment. He was also interested in surrealism and would occasionally shoot from an oblique angle creating dynamism with the strong diagonals he captured in his composition.

Around 1965 Eggleston moved on to colour photography. He found a lot of the photojournalism and artistic black and white photography at the time uninteresting which led him to experiment with colour. His initial attempts at colour were a failure; he was lamenting how his black and white photography techniques did not readily transfer across to colour. After a rethink, the next day he took (what is considered to be) his first successful colour photograph which was of a grocery boy.

Eggleston: Untitled from “Los Alamos”, c. 1965-68

Gefter (2008) suggests that Eggleston may have borrowed (consciously or not), from photorealists such as Robert Bechtle and Ralph Goings because their photorealist paintings (which were in colour) preceded his photographs. Typically the paintings would be of “diners, parking lots and gas stations” which Eggleston tended to photograph a lot.

While he was growing up, Eggleston witnessed the effects of the oppression on the lower classes and experienced the turbulent times of the African-American Civil Rights Movement. However, Eggleston’s photographs seemed to avoid any class or racial statement, as if these events were of no consequence. This might appear somewhat remarkable for a documentary photographer to ignore being in the midst of it all, but Eggleston did not conform to any stereotype. He only photographed what he was interested in, which the Rolling Stone magazine experienced to its cost when it commissioned him to take photographs of Jimmy Carter’s homecoming to Plains, Georgia during the presidential elections of 1976. What it got was a series of pictures showing the run down and drabness of Plains. There was one reference to Carter’s visit in the photographs – a bumper sticker – and not all the photographs were actually of Plains. The magazine did not publish them and Eggleston returned his fee. Cartier–Bresson did a similar thing at the coronation of King George V when he photographed the crowd instead of the king.

Martin Parr was born in 1952. Unlike Eggleston’s wealthy background, Parr had a middle class, suburban upbringing in Epsom, Surrey provided by his father who was a civil servant. His father was a bird watcher and used to take him on long trips into the countryside. The patience that his father showed in pursuing his hobby is evident

in Parr’s work while he tracks his subjects and catches the moment on camera at just the right time just like Cartier-Bresson, one of his early influences.

Like Eggleston, Parr’s interest in photography started with his grandfather who was a keen amateur photographer. Parr would often stay with him at his home in Yorkshire, going on outings, photographing and then developing them back at the home. From then on Parr knew he wanted to be a photographer.

At school, he struggled academically and like Eggleston found it difficult to integrate socially. His main interest was art and he became an enthusiastic amateur actor (Eggleston too had joined a drama club whilst at school) which later helped him to appreciate how to feed drama into his photography. His publication in 1989 entitled “One-Day Trip” is a prime example of how he captured in dramatic form, the desperation and greed of the British shoppers on a booze cruise to Calais. In this series of photographs he occasionally angled the camera to increase the drama.

Parr: Auchan Hypermarket, Calais, France from “One Day Trip”, 1988

Parr left school to study photography at Manchester Polytechnic and nearly got expelled for failing his theory exams. As with tradition at the time, the course was designed to teach you how to be a photographer’s assistant. He also found that the lecturers had little or no knowledge of contemporary photography at that time. In America, photography was well established as a serious subject for study (the department of Photography at MoMA was established in 1940); in Britain, it was marginalised offering very few opportunities. Consequently he did well in the lectures that suited his purpose and not so well otherwise. Eggleston had a similar problem with motivation at university but Parr at least did manage to complete his course.

One promising aspect of his time in Manchester was the group of aspiring photographers he associated with on his course. To supplement the course activities they pushed each other to experiment, holding competitions for the best photographs

and discussed the work of established photographers, poring over what little they could find in the way of magazines and photo books. This way Parr and his photographic peers became mostly self-taught setting their own rules and standards.

During this time Parr became familiar with the work of Cartier-Bresson, the English photographers Bill Brandt and Tony Ray-Jones and significantly, American photographers like Robert Frank, Lee Friedlander, Garry Winogrand and Diane Arbus who were featured in Szarkowski’s “New Documents” exhibition at MOMA in 1967. Their style of documentary photography was unlike anything he had seen before and had a profound impact on what he wanted to accomplish as a photographer. His goal from then on was to capture real life – ordinary people doing ordinary things.

Another early influence were the brightly coloured postcards by John Hinde that one could find at British seaside resorts. However this influence didn’t come to the fore until Parr encountered Eggleston’s colour work and combined the two influences to produce “The Last Resort”.

In the 1970’s, high inflation, high unemployment and strikes were prevalent but it was also the age of consumerism, of pop culture which was perfect for photography to capture the new age. Young adults were finding their independence and expressing it in a way that previous generations had been unable to and although Parr was very much part of that age, his focus was primarily on the working class which he portrayed in several photographic series because he saw this as the real life. In later years, class featured significantly in several publications of his work which he got regularly criticised for. Unlike Eggleston, the political and socio-economic situation was important to Parr; as a documentary photographer he wanted to capture the social behaviour under the economic and political influences at the time.

Initial Works

Eggleston’s first major publication was “William Eggleston’s Guide” which was published to accompany his exhibition of colour photographs at MoMA in 1976. It had taken about 7 years to come together with the support of John Szarkowski who was the museum’s director of photography. Parr, along with just about every other serious photographer was working with black and white film at the time and it wouldn’t be for another 10 years before Parr submitted “The Last Resort”, his first major piece of colour work.

The exhibition was described as the worst of that year. Eggleston’s reaction was: “The poor guys who were critics just didn’t understand the works at all. I felt sorry about that, but it didn’t weigh on my mind a bit.” (Korine, 2008).

The exhibition consisted of about 75 large supersaturated colour prints which had been produced using the expensive dye-transfer process, normally reserved for advertising printing. The effect was that the colours appeared bolder and more

striking which grabbed one’s attention but the subject matter was bewildering to many as Eggleston chose to photograph mundane things like a dog drinking from a muddy puddle, a child's tricycle, a tiled shower and a kitchen oven. However his sense of composition was very strong which held the viewer’s gaze and many critics have since commented on how they marvel at the simplicity of what he is able to achieve and yet find it impossible themselves to recreate.

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. But in the end, I knew better than to waste my money. (Schwabsky, 2009)

Eggleston: Memphis from “William Eggleston’s Guide”, c.1969-71

Despite all the criticism that followed the exhibition at the MoMA, it identified a key moment in the history of photography as it represented “the acceptance of colour photography by the highest validating institution” (Holborn, 1992).

Eggleston’s style was in keeping with the “snapshot aesthetic” which typically consists of a series of banal photographs that show no obvious link between them

and appear to be random or accidental. With little or no apparent context, the photographs invite interpretation and take on new meanings. Photographers like Winogrand and Friedland (friends of Eggleston) were considered two of the earliest advocates of this style but Eggleston declares his influence and motivation came from the hundreds of colour photographs he watched being developed during regular visits to an industrial photographic processing laboratory. These were the colour snaps of amateur photographers and they had such a profound impact on Eggleston that it brought about a radical change in his style and subject matter.

Up until that point (about the mid-1960s) he was being quite conventional photographing in black and white following the established rules on composition and looking for that “decisive moment” but the masses of unpretentious, mediocre images presented Eggleston with the basis for all his future work.

Eggleston: Memphis from “William Eggleston’s Guide”, c.1969-71

When Parr published “The Last Resort” in 1986 it received similar criticism to Eggleston’s Guide. Although 10 years had passed since Eggleston’s initial publication, it was as if the postmodern photographic movement in the US had passed the British art critics by. Parr’s photographs were too garish for the critics. Two decades after Robert Frank said “Black and white are the colours of reality” nothing much had changed in Britain to challenge that tenet until Parr came along. However, the worst of the criticism was received for the subject matter. Like

Eggleston, Parr had focused on the mundane but in particular he had focused his camera on the British working class on holiday in New Brighton near Liverpool. Parr was essentially middle class and the critics saw this as arrogant and patronising. David Lee, art critic for the Arts Review publication at that time wrote:

“[Parr] has habitually discovered visitors at their worst, greedily eating and drinking junk food and discarding containers and wrappers with an abandon likely to send a liberal conscience into paroxysms of sanctimony. Our historic working class, normally dealt with generously by documentary photographers, becomes a sitting duck for a more sophisticated audience. They appear fat, simple, styleless, tediously conformist and unable to assert any individual identity. They wear cheap flashy clothes and in true conservative fashion are resigned to their meagre lot. Only babies and children survive ridicule and it is their inclusion in many pictures which gives Parr’s acerbic vision of hopelessness its poetic touch” (Lee cited in Williams 2004)

Although Lee is well known for his outspoken views on what he considers to be unacceptable standards in the art world, he did also state in the same article: “If I had to put money on any of this year's photography books becoming a classic, The Last Resort would be it”.

Parr was interested in chronicling change and at that time Britain was going through a lot of change. The Last Resort was his observation of working class people enjoying themselves in a dilapidated area of Liverpool as a contradiction to the so called affluent society, but he was more interested in observing the relationships between the people he photographed and how they interacted with their surroundings. Williams (2004) succinctly summed it up as “an exercise in looking”. The critical reaction was more a reflection of the political situation at the height of Thatcherism where the age of consumerism was showing up the financial differences between the classes. Significantly none of the people who holidayed in New Brighton were offended.

Parr: New Brighton from “The Last Resort”, c. 1983-86

Not all the criticism was negative but at the time no one really appreciated what it represented with respect to the impact it would have on British photography. The bold use of colour and the close inspection of the subject matter made it appear almost voyeuristic and people did feel uncomfortable with it but Parr also injected an element of humour and affection to present a sharp satire of Thatcher’s Britain. Black and white photography was still the norm for documentary photography but Parr was able to successfully change that whilst colour photographers like Eggleston had made little impact in Britain. Badger (2010) stated that “It is no exaggeration to say that The Last Resort was a defining moment in British photography” and the Guardian newspaper chose it as one of the “1000 Artworks to See Before You Die”.

Subsequent Works

Eggleston has gone on to produce several other books and portfolios including Los Alamos which was a collection of 75 colour prints that were actually taken before the publication of the Guide. The collection was sold in 2008 for $1.02m at Christies to cover unpaid taxes; it is one of the highest prices paid for photography and reflects the importance of his work.

His style has not changed much since William Eggleston’s Guide except there seems to be increasingly less people appearing in the photographs although he is still focussing on evidence of their presence such as possessions. I think this is unfortunate because some of his strongest images are of people, even though they are not doing anything in particular.

Eggleston: Winston from “The Democratic Forest”, c. 1989He is also becoming more abstract in his composition choice. This doesn’t seem to be any particular conscious decision as he doesn’t try to analyse what he does. He

has a ‘democratic’ approach to the photographs he takes: all photographs have equal status and he does not have any favourites. One of his collections was entitled “The Democratic Forest” in reference to this approach.

The criticism he had received from his first exhibition was not so evident in his subsequent work. The MoMA had given him credibility which opened the door for his work to be better received. Unfortunately for Parr, this wasn’t the case. His subsequent work was still being criticised for focussing on society and catching people in the worst light like the booze cruise previously mentioned or the publication “The Cost of Living” for example which was a sharp observation of the middle classes. He also produced a series called Luxury which was about the upper classes and they too were not spared the acerbic, uncompromising observations that other social groups had been subjected to.

Parr: Badminton horse Trials from The Cost of Living, c. 1986-89

Parr exposed the way we live in glorious colour that made the subject matter gaudy looking and made the viewer feel somewhat uncomfortable because they were everyday scenes one could readily associate with. Parr had no political agenda; he was an anthropologist and a social commentator with a typically British sense of humour.

Parr is also interested in tourism and consumerism and has produced several portfolios from around the world of the objects of our desire: predominantly food. In these photographs he has used a ring flash, normally used in forensic photography, combined with close up photography to increase our unease as food items are presented in full garish colour. Eggleston has also produced photographs from around the world concerned with tourism and consumerism but his treatment is mostly different and more subtle such as a photograph of a table with food served up on plates but no one sitting at the table. Parr’s typical take on this is to catch everyone in mid-chew.

Eggleston: Sumner, Mississippi from Parr: Luxury, c. 2009 “William Eggleston’s Guide”, c.1969-71

However there is nothing subtle about Eggleston’s portfolio on Elvis Presley’s mansion, Graceland. Elvis’ style was excessive and colourful, a perfect topic for Eggleston’s saturated colour prints.

Eggleston: Untitled from “William Eggleston’s Graceland”. 1984

Techniques

Both Eggleston and Parr are relatively self-taught, share some of the same influences and on occasions produce similar work but they have for the most part completely different approaches to how they carry it out.

Parr has spent his career scrutinising how we live our lives but Eggleston doesn't really notice what is happening around him. Although he has spent most of his life in and around Memphis, he never really thinks about change and certainly not about social change. He just takes photographs of what interests him and doesn’t think much about what he is doing; he’s not looking to make any particular statement with

his photography. Quoting Winogrand, Eggleston once said “I photograph to find out what something will look like when photographed”.

Eggleston moved away from the ‘decisive moment’ soon after turning to colour photography only ever taking one photograph relying on his ability to operate the camera and compose the shot effectively. Parr on the other hand, very much in search of the ‘decisive moment’ estimates he takes “tens upon thousands of photographs a year... prints out maybe 15,000 of them ... if there are ten good ones, it would be a good year.” (Secher, 2011).

One area where they both agree is abandoning the use of the camera’s viewfinder. Both have used the analogy of taking photographs as if one was an insect flying around so a shot could be taken low to the ground or above the head for example. The consequence of this technique is unusual angles that can add interest to the photographs such as Eggleston’s tricycle or Parr’s shot of camels in Tourism.

Eggleston: Memphis from Parr: Wooden camel statues and “William Eggleston’s Guide”, c.1969-71 camel rides from “Tourism”, 1995

Another common theme that runs through both artists’ portfolios is the sense of something malevolent lurking underneath the surface of what is portrayed. Both artists present the objects of their photographs in a natural way but the use of saturated colours can appear lurid and emotionally affect the viewer’s perception such as Eggleston’s blood red ceiling (Greenwood, Mississippi) or Parr’s portfolio called British Food – the combination of flash and E numbers make the cakes look almost poisonous to eat.

Parr: Iced Buns.VE Day from British Food. 1995 Parr: Benidorm. 1997

Other techniques like a narrow perspective and narrow depth of field are also used to give the objects an obtrusive presence that helps to create tension. Some of the

prints in Eggleston’s Guide used these techniques to good effect like the “giant” tricycle and the green shower that provokes thoughts of gas chambers.

Summary

For the thousands of documentary photographers practising their art today, two of the main qualities of producing a good photo are being in the right place and in the right time. This is most evident in Parr’s “The Last Resort” and it is not surprising that he has been accused (incorrectly) of staging his photographs. However, with Eggleston, time seems to be mostly insignificant in his art. A good example of this is in the Plains photographs he took for the Rolling Stone magazine. The fact that there is no evidence of Carter’s visit, he is saying nothing really has or will change regardless of who wins the election. I get the sense that if I was to turn up there today, it would still be the same. In “Local Color”, an article published by the New Yorker magazine, art critic Peter Schjeldahl (2008), eloquently suggests:

He does regularly suppress one significant element of lived experience: time. His art re-proves Roland Barthes’s influential theory of the punctum – a Proustian quantum of lost time – as in intrinsic to photography’s emotional power. The hour on Eggleston’s clock is always right now. Whatever is dated in his early subjects – car models, hairdos - barges into the present with a redolence of William Faulkner’s famous remark that the past isn’t only not dead, it isn’t even past.

Another quality is good composition and Eggleston and Parr are masters of this. Although their view on everyday life tends to focus on the more mundane aspects, there is intelligence and intuition in their creations that pique our curiosity.

Ultimately their pictures represent the view they want us to see. It is their interpretation of life around them presented in turn for us to absorb and interpret. The often stark subject matter combined with the striking use of colour suggests that below the surface of what we see lurks a darker story and I think it is testament to their ability that they do this with the everyday banality of life. With the advancement of technology, anyone can take a good photograph but it takes someone with real talent like Eggleston and Parr to add intelligence and meaning.

Words 4390

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