Eureka

William Wegman Photographs 1970-1975

November 8, 2013 – January 25, 2014

William Wegman, As a Joke ..., 1971.
Gelatin silver prints, work in two parts, 12 1/4 x 10 7/8 inches each.
William Wegman / Sperone Westwater.

William Wegman, Ray-O-Vac, 1973.
Gelatin silver prints, work in six parts, 25 3/4 x 44 1/2 inches, overall.
Private collection.

William Wegman, Cotto, 1970.
Gelatin silver print, 10 1/2 x 10 3/4 inches.
Ed Ruscha.

William Wegman, Sweater Wiring, 1972.
Gelatin silver print, 14 x 11 inches.
Ed Ruscha.

William Wegman, Light Off/Light On, 1970.
Gelatin silver prints, work in two parts, 15 1/4 x 23 1/4 inches.
William Wegman / Sperone Westwater.

William Wegman, Milk/Floor, 1970.
Gelatin silver prints, work in two parts, 9 1/2 x 7 inches each.
Ed Ruscha.

William Wegman, A Basic Guide to Lettering, 1972.
Gelatin silver prints, work in two parts, 11 x 14 inches each.
Marc Selwyn Fine Art.

William Wegman, Stutter, 1970.
Gelatin silver print, 7 x 7 inches.
William Wegman / Sperone Westwater.

William Wegman, Photo Under Water, 1971.
Gelatin silver prints, work in two parts, 12 3/4 x 10 9/16 inches each.
Ed Ruscha.

William Wegman, How They are Toward Newspapers, 1973.
Gelatin silver print, 10 1/4 x 10 5/8 inches.
William Wegman / Sperone Westwater.

William Wegman, Edge Work, 1972.
Gelatin silver print, 8 3/8 x 7 3/16 inches.
William Wegman / Sperone Westwater.

William Wegman, Three Mistakes, 1971-72. 
Gelatin silver print, 14 x 11 inches.
Sonnabend.

William Wegman, Two or Three Chairs, 1972.
Gelatin silver print, 14 x 11 inches.
Sonnabend.

William Wegman, Blondes / Brunettes, 1972.
Gelatin silver prints, work in thirty-two parts, 40 x 50 inches overall.
William Wegman / Sperone Westwater.

William Wegman, Untitled, 1974-75.
Gelatin silver prints, work in four parts, dimensions variable.
William Wegman / Sperone Westwater.

Press Release

NEW YORK – Craig F. Starr Gallery is pleased to present Eureka: William Wegman Photographs 1970-1975, an exhibition of 15 vintage works on view from November 8, 2013 through January 25, 2014. The show highlights Wegman’s early, black-and-white photographs, including Cotto (1970), Blondes/Brunettes (1972), and Ray-O-Vac (1973). A fully illustrated catalogue accompanies the show, with an essay by Peter Galassi, Chief Curator Emeritus of Photography at The Museum of Modern Art.

In the 1970s, artists discovered photography’s potential for conveying concepts as opposed to aesthetic value. Wegman flirted with the medium for several years in the 1970s before making the large-scale portraits of his Weimaraners, for which he became famous. Each work is a case study in the relationships between a photograph, the subject it describes, and language itself. The exhibition captures the artist’s wit and curiosity as he toys with syntax, representation, and self-expression, all in a clever response to the conceptual and minimalist trends of the era.