Books by Jeffrey Kastner
William Eggleston: The Last Dyes
by William Eggleston, Jeffrey Kastner
This momentous publication catalogues the last major group of William Eggleston’s photographs to ever be produced using the dye transfer method, the format in which he originally presented them.
"Like finding a Beatles album that no one knew existed. Everything about it is mind-bogglingly good." —The Guardian
Eggleston’s vivid photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. One of the foremost practitioners in the medium’s history, Eggleston is widely considered the father of color photography. He pioneered the use of dye-transfer printing for art photography in the 1970s. The technically advanced process—first developed by Kodak in the 1940s—allowed him to achieve the richness of tonal depth and color saturation that he had been searching for. In the early 1990s, Kodak stopped producing the dyes, paper, and film used in the process. With the necessary materials now discontinued, and the bulk of what remained being used for this exhibition, The Last Dyes marks the final presentation of new works completed in this medium.
With a foreword by William Eggleston III and Winston Eggleston, and an essay by Jeffrey Kastner, this publication will offer critical insights into Eggleston’s enduring influence at this turning point in the history of photography.
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$60.00
Robert Ryman: Early and Late
by Lucy Lippard, Jeffrey Kastner, Dieter Schwarz, Robert Ryman
An extensive look at Robert Ryman’s formative work from the early 1960s, as well as his last series of paintings
In the 1960s, Robert Ryman began to firmly establish the broad parameters of his radical and inventive practice. While he initially gained recognition for work he made in the late 1960s and early 1970s, his earlier paintings have remained less widely seen.
This publication includes representative works of all facets of Ryman’s painterly practice during this time—influenced by his career as a jazz musician—including his use of thick impasto brushstrokes on both stretched and unstretched canvas; heavily or sparsely worked paintings in both small and large formats; and a group of rarely seen works on raw linen, each featuring one or several seemingly complete, independent compositions. Many of these works feature subtle suggestions of colorful underpainting that leave an outsized effect on the viewing experience, while in other works Ryman’s assertive use of green, red, and blue intensifies the visual presence of the various white tones.
Revealing the breadth of Ryman’s work, this catalogue also includes a selection of drawings, many of which were made concurrently with the early works, as well as his last paintings. The final canvases demonstrate the inexhaustible and probing nature of Ryman’s singular approach to painting over his five-decade career. The details reveal the visual presence of various white tones, creating an interplay between color and absence and dimensionality that characterizes much of Ryman’s oeuvre.
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