Coming from Steidl this month, (well perhaps in time for Paris Photo) a new and complete look at William Eggleston's Los Alamos series.
Between 1965 and 1974 William Eggleston and Walter Hopps traveled
together in the US, Eggleston taking photographs, Hopps driving. During
these travels the title Los Alamos was born. At the turn of the century
Eggleston, Hopps,Caldecot Chubb and Winston Eggleston edited the
photographs into a set of five portfolio boxes containing dyetransfer
prints, which were produced in an edition of five with three sets of
artist proofs. In addition to this selection, a further thirteen images
were printed and released as individually available dye-transfer prints,
which were referred to as “cousins” of the Los Alamos project. Hopps’
original vision was to make a vast exhibition of the project, but plans
fell through and the idea was abandoned. At some point the negatives
became separated, Hopps retaining roughly half of the project in
Houston. Later Hopps carefully returned what was assumed to be the
remainder of the negatives to Memphis and they were catalogued as Box
#17. After Hopps’ death in 2005 his widow Caroline found another box of
negatives that had never been accounted for. These were then catalogued
as Box #83 and documented in a hand-made reference book called Lost and
Found Los Alamos. In 2011, William Eggleston III (son of William) and
Mark Holborn came together to review the now complete set of negatives
for a final edit and sequence. They finished their sequence in Göttingen
with Winston Eggleston in 2012. It is presented in its entirety in this
three-volume set. An earlier edition of Los Alamos edited by Thomas
Weski was published by Scalo in 2003. Weski’s original essay is included
in this revised edition. Los Alamos Revisited has been drawn from the
complete set of photographs, including the long lost negatives from Box
#83.
In three volumes, 32cm x 31.5 - Vol. 1: 192 pages / Vol. 2: 168 pages / Vol. 3: 228 pages
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