The photographs were made near Eggleston’s home in Memphis, and nearby in northern Mississippi.  Of this work, John Szarkowski has written:

Eggleston was born in 1939 in Memphis, near his family’s cotton farm in Tallahatchie County, Mississippi.  His interest in photography was sparked about 1962, when he discovered the work of Cartier-Bresson.  He has been awarded fellowships by both the Guggenhein Foundation and the National Endowment of the Arts.

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Over the past three years Rubinfien has been working exclusively in the Far East; the photographs in the present exhibition were made in Japan, China, Thailand, the Philippines, Indonesia, Vietnam and Burma.  Though Rubinfien is a longtime New Yorker, he first went to the Far East in 1963 and lived there intermittently for many years.  Speaking Japanese and enough Chinese and Indonesian to communicate, Rubinfien has found access into places and situations which are closed to the experience of most westerners.  Though Rubinfien’s photographs are of exotic locales, his images could not be more distant in approach or spirit from the National Geographic style which we have come to associate with such places.

Rubinfien is considered a major force in the new generation of photographers who, in the past ten years, have begun to work in color in a more confident, more natural, and more ambitious manner.  With this approach, color is no longer a separate issue to be solved in isolation, but rather as the world itself existed in color.  In this way, the pictures are not photographs of color, just as  they are not photographs of shapes, textures, objects, or symbols, but rather photographs of experience, as ordered and clarified within the structures imposed by the camera.

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Among the earliest photographs on view is a series Winogrand made at the El Morocco Club in New York, circa 1955.  Winogrand’s concern with the nature of public gatherings, as well as his blatant obsession with female sexuality, is clearly expressed at an early point in his career within these photographs.  (Those concerns would later be more fully investigated in his book Women are Beautiful, and Public Relations.)  The photographs in the exhibition span Winogrand’s career, ending with two images made at the Los Angeles beach shortly before his death.

From the mid-fifties on, Winogrand’s personal “new documentary” photographs of the densely packed moments won him acclaim as an important chronicler of contemporary American life.  In his photographs, both the world’s extraordinary complexity and the sharp, sensual delights of seeing are as evident as the obsessions of a particular man.

Winogrand’s career will be the subject of a comprehensive retrospective now being organized by the Museum of Modern Art in New York.  It is scheduled to open in March of 1988.

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In the process of creating a memorial such as Shiloh, boundaries are demarcated, signs placed, while history and events continue outside of its perimeters. Not content to simply document the piles of cannon shot and the tourist plaques, Friedlander also addresses the boundary lines between the artificial and the pastoral that make up the memorial. The result is much more than a record of a National Park; it is a sentimental evocation of a natural place, the locus of a historic event.

In Shiloh, Friedlander continues the tradition of Mathew Brady, Timothy O’Sullivan and George Barnard, the great photographers of the Civil War. Photographically, the portfolio is a celebration of recollection, a melancholic essay in overcast light and wistful tonalities, a pastoral of recollected bloodshed, and a revelation that beneath the sculpture and within  the forests, there is still the animated presence of the American past.

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Beginning with several daguerreotypes from the 1840s, the exhibition traces a development of photographic processes and aesthetics through the next 140 years. Included are several early albumen prints from Great Britain, France, and China, an interior view of the Emporium department store after the 1906 earthquake, two anonymous images made by Bauhaus photographers in the 1930’s, a picture of “Herschel Bernardi’s brother” at his desk, and a Chinese color film still from the 1950’s among others. Several of the photographs have been loaned from the private collections across the United States. Ultimately, the exhibition provides an opportunity for the serious viewer to reflect on the nature of “the photographic,” and on photography itself.

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