Color Photography

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En provenance du cours de The University of North Carolina at Chapel Hill

The American South: Its Stories, Music, and Art

253 notes

The University of North Carolina at Chapel Hill

The American South: Its Stories, Music, and Art

253 notes

From small farms to urban neighborhoods, from the region itself to the more distant worlds of the southern diaspora, we discover the stories, music, and art of the American South.

À partir de la leçon

Southern Artists

Understanding the distinction between folk art traditions and the high art of the academy with examples of basket-weaving, quilt-making, sculpture, painting, and photography.

Black and White Photography6:00

Color Photography5:10

Sense of Place5:57

Sense of History6:23

Literature's Influence3:00

Rencontrer les enseignants

Dr. William Ferris
Joel R. Williamson Eminent Professor of History; Senior Associate Director of CSAS; Adjunct Professor in the Curriculum in Folklore
Department of History

[MUSIC]

More recent Southern photographers have used color film rather than black and

white to capture their worlds.

William Christenberry grew up in Alabama, and his roots are in Hale County,

Alabama, where Walker Evans photographed with a black and white camera.

Christenberry followed years later with color photography and

Walker Evans and he were friends and visited and

re-encountered Hale County together as photographers.

And Bill Christenberry talked about how he sees the Southern photographer,

as wrestling with issues of his region and his people.

>> When I first discovered Faulkner and other writers, Flannery O'Connor,

Carson McCullers, of course James Agee, more recent years, Walker Percy.

All of those people and their work had a profound influence on what I

wanted to try to express in my work.

I don't know if it's possible to do that visually,

what they are doing with the written word.

But, I feel, very strongly that it's worth the challenge.

It's a, that's what it's all about for me.

It was in the early 1960s that I,

began a body of work trying to express my abhorrence of the Ku Klux Klan.

I had left Alabama in 1961 and went to New York for a year.

And it was that period in New York that I began to think of ways to

deal with not only the Klan as subject matter, but various other aspects

of deep feeling about where I was from and that is Alabama and the deep South.

I hold the position that it is an artist's responsibility to

at least express himself, herself in terms of these issues.

Not to avoid them, not to put them away in a closet, but

to try to deal with them head on.

>> Another truly great Southern photographer who's worked with

color film is William Eggleston, from Memphis, Tennessee.

He has done stunningly beautiful color film of people and places

from the Mississippi Delta, from Memphis, and other parts of the American South.

Eggleston is considered the father of modern color photography.

And his subjects are filled with rich reds and

yellows and blues that evoke the region in ways

that are very different from the black and white photography of Walker Evans.

What I'm interested in is, is the, is, being like a novel, you know?

So this pages.

So, person who has the patience to look at all, we saw 320.

So that the, you know, if a person went slowly through that body

it would roughly be like going through a book, you know, and then you'd remember.

You know you'd, the information would add up,

you know, and then at the end, you'd remember a lot of things.

I don't really care about one little value of one picture over another, you know?

One might be a little prettier, you know, than a certain other one but,

that might not be the best thing, you know, and so both cases really.

So there's a clear link between the visual images of the photographs

of Eggleston of Christneberry of Walker Evans and

the southern writers like William Faulkner and Richard Wright.

All of whom are wrestling with and capturing both the beauty and

the terrible suffering of their people in the American South.

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