.jpg?w=1)
Lot Essay
Tom Young is a gifted abstract expressionist painter who was a founding member of the radical 10th Street co-operative galleries in New York City in the 1950s, where he worked alongside Franz Kline, Willem de Kooning and Philip Guston. He met William Eggleston in 1960 while artist-in-residence at 'Ole Miss' (University of Mississippi) where Tom became a close friend and something of a mentor.
Around 1964, having abandoned his studies without graduating, Eggleston went to Paris to take photographs, but returned to Memphis without a single shot. He explained to Young that he was unable to work because he disliked everything around him. Young suggested that Eggleston use this malaise as the basis for his photographs. It was advice clearly taken. Eggleston's subsequent 'democratic' approach was fully realized in the photographer's magnificent and disturbingly vibrant 'Greenwood, Mississippi' of 1973 (see lot 228), here inscribed affectionately, 'To Tom, I love you my friend. Damn the tarantulas, full steam ahead.'
Young also accompanied Eggleston on assignments: to Graceland in 1983 (see lot 232) and to Mexico in 1987 to visit Young's friend architect and artist Mathias Goeritz (see lot 233).
Young documented these projects (as well as many others) in a blizzard of snapshots of Eggleston at work, a fascinating and integral part of the family's collection. He also made more formal portraits of his friend as seen in lot 229, taken in 1985 in the Young's living room in New Orleans.
William Eggleston's career has been justifiably illustrious. Tom Young's has also been distinguished and enlightened, if less public. He quietly continued to paint - and to teach. In 1970 he was appointed chair of the newly created art department at Louisiana State University in New Orleans (today The University of New Orleans) where his contribution to art and to the institution was marked by a retrospective exhibition of his work at the University's Ogden Museum in 2008.
Christie's is honored to present the following six lots on behalf of the Young family. In so doing, we applaud the meaningful and enduring friendship of two significant artists who have had such an impact on one another and on those around them.
Around 1964, having abandoned his studies without graduating, Eggleston went to Paris to take photographs, but returned to Memphis without a single shot. He explained to Young that he was unable to work because he disliked everything around him. Young suggested that Eggleston use this malaise as the basis for his photographs. It was advice clearly taken. Eggleston's subsequent 'democratic' approach was fully realized in the photographer's magnificent and disturbingly vibrant 'Greenwood, Mississippi' of 1973 (see lot 228), here inscribed affectionately, 'To Tom, I love you my friend. Damn the tarantulas, full steam ahead.'
Young also accompanied Eggleston on assignments: to Graceland in 1983 (see lot 232) and to Mexico in 1987 to visit Young's friend architect and artist Mathias Goeritz (see lot 233).
Young documented these projects (as well as many others) in a blizzard of snapshots of Eggleston at work, a fascinating and integral part of the family's collection. He also made more formal portraits of his friend as seen in lot 229, taken in 1985 in the Young's living room in New Orleans.
William Eggleston's career has been justifiably illustrious. Tom Young's has also been distinguished and enlightened, if less public. He quietly continued to paint - and to teach. In 1970 he was appointed chair of the newly created art department at Louisiana State University in New Orleans (today The University of New Orleans) where his contribution to art and to the institution was marked by a retrospective exhibition of his work at the University's Ogden Museum in 2008.
Christie's is honored to present the following six lots on behalf of the Young family. In so doing, we applaud the meaningful and enduring friendship of two significant artists who have had such an impact on one another and on those around them.