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April 10, 2026

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"William Eggleston, the pioneer of colour photography shocked the art world in 1976 with his exhibition at The Museum of Modern Art in New York and his accompanying book, William Eggleston's Guide. The exhibition validated colour photography as a legitimate artistic medium. Alongside his friends and Gary Winogrand, Eggleston is regarded as one of the most inventive and radical photographers of modern times. His reputation continued to grow with the publication of The Democratic Forest in 1989, an epic drawn from, over ten thousand prints, with, an introduction by Eudora Welty. It was described by The New York Times as the first masterpiece of colour photography. Eggleston has always lived in Mississippi and Memphis. His work is deeply rooted in the South, but he transcends the label of Southern artist. His range is international. This book, published to coincide with an exhibition originating at Barbican Art Gallery in London, is the first time work from his whole career has been gathered to form a coherent sequence. It follows a course of ancient and modern from Mississippi to Louisiana and into Elvis Presley's mansion Graceland, through the oil rigs in Tennessee and the orchards of the Transvaal, to the slopes of Mount Kenya and down the Nile, with the collection ending on the lyrical imagery of the English rose. The cumulative effect of Eggleston's startling work reinforces his reputation as a major American artist, whose significance extends beyond the world of photography."

- William Eggleston

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"But attention must also be given to the possibility that, in addition to the Indigenist discourses of the nationalists, there might be many other scholars who sincerely believe that the Aryan invasion theory is a seriously flawed historical construct produced by biased imperial powers with overt agendas of their own—in other words, that it was, and is, perceived as "bad history." Consideration must also be given to the perception of many Indian scholars that Europeans might have constructed the idea of an external home of the Aryans to "pander to a false sense of national pride" of their own. No doubt voices challenging the theory of Aryan invasions were, and are, often co- opted and even, in certain cases, initiated and sponsored by nationalist and communal elements, but a wide range of motives have inspired Indian scholars to challenge the idea of Aryan invasions or migrations. Not all historical "revisionism," by which I in- tend the literal meaning of the word in the sense of "reexamination," is necessarily nationalist nor, most certainly, communal a priori. Perhaps the use of the term ^revisionism would illustrate the point: let us not forget that it was Europeans who originally "re- vised" India's Brahmanical notions of history and then imposed their version of events on their subjects. While I do not intend to minimize or gloss over the importance of this issue to Hindu nationalism, my reading of the Indigenous Aryan school is that its concerns are also to a great extent anti-imperial and anticolonial: it is determined to review the revision. Not all who share this concern are necessarily also impelled to find reason to consider themselves the original inhabitants of India so as to enhance their social legitimacy vis-a-vis other communities on the subcontinent."

- Edwin Bryant

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