DVD Video contains: Commentary, tracks, bonus footage, frame enlargements from the digital remaster.

Born and raised in Mississippi and Tennessee, William Eggleston began taking pictures during the 1960s after seeing Henri Cartier-Bresson's The Decisive Moment. In 1966 he changed from black and white to color film, perhaps to make the medium more his own and less that of his esteemed predecessors. John Sarkowski, when he was curator of photography at the Museum of Modern Art, called Eggleston the "first color photographer, " and certainly the world in which we consider a color photograph as art has changed because of Eggleston. From 1966 to 1971, Eggleston would occasionally use a two and one quarter inch format for photographs. These are collected and published here for the first time, adding more classic Eggleston images to photography's color canon.

* Selected as ONE of the BEST BOOKS of the 21st CENTURY by The New York Times * NATIONAL BOOK AWARD FINALIST * New York magazine’s #1 Book of the Year * Best Book of the Year by: The Wall Street Journal; Vogue; O, The Oprah Magazine; Los Angeles Times; The San Francisco Chronicle; The New Yorker; Time; Flavorwire; Salon; Slate; The Daily Beast “Superb…Scintillatingly alive…A pure explosion of now.”—The New Yorker Reno, so-called because of the place of her birth, comes to New York intent on turning her fascination with motorcycles and speed into art. Her arrival coincides with an explosion of activity—artists colonize a deserted and industrial SoHo, stage actions in the East Village, blur the line between life and art. Reno is submitted to a sentimental education of sorts—by dreamers, poseurs, and raconteurs in New York and by radicals in Italy, where she goes with her lover to meet his estranged and formidable family. Ardent, vulnerable, and bold, Reno is a fiercely memorable observer, superbly realized by Rachel Kushner.

William Eggleston is synonymous with color photography--or so we think. But the man who almost single-handedly established color photography in the art world with his 1976 Museum of Modern Art exhibition, "William Eggleston's Guide, started out as a black-and-white photographer. It was in the early 1960s that Eggleston first took to the camera, after discovering the work of Walker Evans and Henri Cartier-Bresson, and it was their black-and-white aesthetic that opened his lens. "Precolor presents Eggleston's never-before published black-and-white work, a roadmap for his later hyper-saturated color oeuvre. Eggleston's passion for everyday life, for the uncanny beauty of the mundane, is already evident in his black-and-white photographs. Whether it's a stack of metal chairs, a man at a pay phone, a child perched on a tree, or a teenager on a street corner--Eggleston captures them all with an off-hand elegance, casually endowing the most seemingly insignificant glimpses of life with substance and urgency.

Over the course of nearly six decades, William Eggleston—often referred to as the “father of color photography”—has established a singular pictorial style that deftly combines vernacular subject matter with an innate and sophisticated understanding of color, form, and composition. Eggleston has said, “I am at war with the obvious.” His photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. Though criticized at the time, his now legendary 1976 solo exhibition, organized by the visionary curator John Szarkowski at The Museum of Modern Art, New York—the first presentation of color photography at the museum—heralded an important moment in the medium's acceptance within the art-historical canon and solidified Eggleston's position in the pantheon of the greats alongside Henri Cartier-Bresson, Robert Frank, and Walker Evans. Published on the occasion of David Zwirner's New York exhibition of selections from The Democratic Forest in the fall of 2016, this new catalogue highlights over sixty exceptional images from Eggleston's epic project. His photography is “democratic” in its resistance to hierarchy where, as noted by the artist, “no particular subject is more or less important than another.” Featuring original scholarship by Alexander Nemerov, this notable presentation of The Democratic Forest provides historical context for a monumental body of work, while offering newcomers a foothold in Eggleston's photographic practice.

When William Eggleston's second artist's book Morals of Visions was first published in 1978 in a limited edition of fifteen, only a handful of lucky people were able to obtain it; it has since become a collectible rarity. That is now to change with this new Steidl edition, which re-imagines Morals of Visions as a trade book for the general public. The original Morals of Vision contains eight color coupler prints of Eggleston's archetypal still lifes, landscapes and portraits which glorify the banal and have since changed the history of color photography. "There is no particular reason to search for meaning," Eggleston has said of his work in general, a sentiment in contrast with the title Morals of Vision which suggests that there are indeed principles of a kind to be learnt from the images in this book. Yet the lessons in photos including those of a broom leaning again a wall, green grain silos in the fading light, and an off-center electric candle complete with fake wax, remain Eggleston's own ironic secret. 'I don't have a burning desire to go out and document anything. It just happens when it happens. It's not a conscious effort, nor is it a struggle.' -William Eggleston

A career spanning Monograph looking at the very best portraiture of a distinguished career covering music, film, popular culture, sport and fashion. Derek Ridgers is one of the UK's foremost portrait photographers with a career spanning forty years. He is best known for his photography of music, film and club/street culture - photographing everyone from James Brown to The Spice Girls, from Clint Eastwood to Johnny Depp. During his career, Ridgers has worked for many publications, including Time Out, The Sunday Telegraph, NME, The Face, Loaded, The Sunday Times, The Sunday Independent, GQ Style and Arena.

*** THE SUNDAY TIMES BESTSELLER 'A heroic outsider - a pleasure to read.' - The Guardian 'A fulsome evocation of football before the Premier League.' - The i 'Such a good storyteller...joyous.' - Financial Times 'Honest, raw, revealing and very funny. How to live a life and career to the full. Insightful book about the most successful outsider inside football ever...' - Henry Winter, Chief Football Writer, The Times 'Pat is a wonderful one-off...and this is the story of why that is.' - John Murray, Chief Sports Correspondent, BBC Radio 5 Live 'Unusually vibrant and elegant with heroic doses of humour, insight and self-effacement, this is an absolute must-read for the football connoisseur.' - Omid Djalili 'The biggest influence of my professional career both on and off the pitch.' - Graeme Le Saux 'I grew up captivated by Pat Nevin the player. As a man he taught me even more about the beauty of the game. One of football's great mavericks, and Chelsea's greatest players. And he can spin a mean tune too.' - Sam Matterface 'I used to walk miles to see Pat Nevin play football and I'd do the same now to read his thoughts. Always challenging, always entertaining.' - Lord Sebastian Coe 'A refreshingly honest and thought-provoking autobiography. As deftly delivered as some of Pat's ball skills in his 1980's heyday.' - ToffeeWeb Pat Nevin never wanted to be a professional footballer. His future was clear, he'd become a teacher like his brothers. There was only one problem with this - Pat was far too good to avoid attention. Raised in Glasgow's East End, Pat loved the game, playing for hours and obsessively following Celtic. But as he grew up, he also loved Joy Division, wearing his Indie 'gloom boom' coat and going on marches - hardly typical footballer behaviour! Placed firmly in the 80s and 90s, before the advent of the Premier League, and often with racism and violence present, Pat Nevin writes with honesty, insight and wry humour. We are transported vividly to Chelsea and Everton, and colourfully diverted by John Peel, Morrissey and nights out at the Hacienda. The Accidental Footballer is a different kind of football memoir. Capturing all the joys of professional football as well as its contradictions and conflicts, it's about being defined by your actions, not your job, and is the perfect reminder of how life can throw you the most extraordinary surprises, when you least expect it. Sunday Times bestseller in May 2021.

Published on the occasion of the exhibition curated by Gelnn Barkley, this book presents the work of Australian artist Noel McKenna alongside that of American photographer William Eggleston and New Zealand photographer Laurence Aberhart. The exhibition this book relates to is part of an ongoing series of exhibitions aiming to show Australian artists within broader global dialogues.